STEELE – Deep Water

“I expected there to be some sort of earthshattering kaboom.”

Tim: You may remember STEELE from her previous single Follow, or at the very least the description that came with it, including amongst other wonders “a musical maze that’s full of emotion and passion”. That metaphor clearly worked for her, because here we have “a dark maze of large soundscapes and dreamy melodies”.

Tom: I’m not sure “maze” is a good metaphor for songs. After all, surely you don’t want to get stuck listening to it forever?

Tim: Well…

Tim: So here’s the thing: STEELE (capitals apparently obligatory) goes on to say that “at first it strikes you as this mystical song and you’re not quite sure where it will take you, but once the beat comes in it brings a smile to my face and makes me wanna dance”. The first half of that, absolutely – mystical, not a clue what’s happening.

Tom: And it’s a really successful introduction and first verse: it builds wonderfully, the production is interesting and novel in a good way.

Tim: Right. But then, smiling and dancing? Really, really not (and not just because I had to wait until the song’s halfway point before the beat came in).

Tom: Agreed. Perhaps I’ve just listened to too much EDM likely, but there was no moment where this actually kicked in. It was a slow, steady, constant build, and while that can work if it’s what the audience is expecting (for all I know, her fans might be expecting just that), I expected, at some point, there to be some sort of earthshattering kaboom. Or at least a drop.

Tim: Isn’t it weird? I picked that moment because there is a slight increase in energy there, but to be honest I felt like I had to check I was listening to the right track a couple of times. This is just, well, a tad depressing really, and very much doesn’t fit with the line “the energy and vibe that builds throughout is so uplifting and enchanting”. Is it just me that doesn’t get this?

Tom: It’s not just you. The end of it is just plain unpleasant.

Tim: Good – in that case I think we can confirm this is the most misguided PR piece we’ve ever received.

STEELE – Follow

“I love how optimistic press releases are.”

Tim: It’s “finally time for STEELE’s new release”, apparently, so here it is combining “cinematic influences along with elements inspired by post-rock music.”

Tom: I love how optimistic press releases are.

Tim: And actually cinematic seems like a good word to describe that, because that’d be one hell of a track to go over the first part of a closing credits.

Tom: That’s true, but let’s not forget there are very few closing-credit songs that make it into the charts. It’s definitely possible, of course: but in most cases it’s the artist cashing in. (Hi there, Fall Out Boy.)

Tim: Further notes from the artist mention a “musical maze that’s full of emotion and passion” which is probably pushing it a bit far because what on earth is a musical maze?

Tom: One that’s confusing, difficult to find your way around, and half way through you realise that you acually just want to skip to the end and get out of there. That’s probably unduly harsh, but get your metaphors right, people.

Tim: Regardless, hell of a dramatic track, and while the voice may well grate with some people, I’m all for this. Now, what film can we fit it to?

Steele – Machine

“Somehow less than the sum of its parts.”

Tom: Well that’s an ungooglable name. It’s just going to show you steel machines.

Tim: Indeed, so hopefully I can give you the info you need: a new-ish Swedish act, and the track’s described as “a bitter sweet song about recalled memories and heartbreak”. Quick but obvious f-bomb in the middle, so proceed as appropriate.

https://www.youtube.com/watch?v=FzUcR6jA0CU

Tim: Decidedly more bitter than sweet, that – I’d struggle to find any sweetness in there at all, really, aside from the (mildly believable) “I’m a laugh machine” lyrics. Interesting collection of machines to be, actually – as well as laugh, we’ve love, that and soul (though the tone of it kind of makes me want to add a -draining to that last one), all of which gives a rather curious insight into the relationship being discussed.

Tom: There are so many good things here. Absolutely cracking intro. Brilliant suddenly rising chords in the chorus. That middle eight is lovely. The vocal performance is excellent. Even the ending — which I initially thought was going to be a massive letdown — is recovered by a bit of synth twiddling. And yet, I don’t actually like the final product: it’s somehow less than the sum of its parts for me.

Tim: I’m feeling the same – in two minds about it, really. It’s obviously incredibly depressing and downbeat, but the production on it is really very good indeed, and I’ve happily pressed replay several times while listening. Hmm.

Tom: I want the instrumental of this, used as the backdrop to some nature documentary. I’m just not sure it’s a decent song on its own.