Tom: Parts of this sound like a Tiësto track, and parts of this sound like a Rita Ora track. And astonishingly, I think they both work together.
Tim: They do, as this is a good track.
Tom: I… I don’t think I could pick a Jonas Blue track out of a lineup, though.
Tim: Yeah, you remember – did that Fast Car cover that kickstarted 2016’s brief trend of tropical covers of old songs.
Tom: I’m sure he had some input.
Tom: There’s nothing that particularly stands out here for me, but somehow the whole seems greater than the sum of its parts. It’s catchy, I want to hear it again. And honestly, that’s the only reason I’m sending it over to you: I enjoyed it, and that’s that.
Tim: The other day, I found a Swedish House Mafia playlist and Axwell’s Heart Is King came on, and it got me thinking: do we do DJs a disservice by calling them ‘producers’?
Tim: Because, let’s face it, with tracks like that, and the 12 minute wonder that is Forever Today, surely ‘composer’ is a better description? A music producer is just someone who sits at a desk and pushes a few buttons; tracks of this calibre, though, are so much, much more that – they give a proper ‘wow’ sensation that’s almost better described as a work of art.
Tom: And that’d also avoid the complaint that “DJ” nowadays is often just someone who pushes buttons to fire off pre-recorded tracks before a crowd, however much skill there is in the pre-production.
Tim: Tiësto’s not alone, obviously: I’ve already mentioned Heart Is King; you’ve also got tracks off Daft Punk’s TRON soundtrack that would fit. All in all, lumping the people responsible for these in the same category as, say, the people at Almighty Records (talented as they are) just seems wrong, really. Am I right?
Tom: Words change over time, switching and altering their meanings. Maybe this is just one of those times that we have to accept it.
Tim: Almost every single time, I really hate the way that the SoundCloud website forces a new track on you immediately after you’ve listened to the one you want. Almost, that is, because for the first time ever I got one I actually liked: this one, after hearing Thursday’s track.
Tom: That’s exactly what happened to me: and I was going to send this track to you, except you got there first.
Tim: John Legend tracks are typically fantastically miserable – Ordinary People was a textbook example, and the original of this one got boring after about a minute. Turns out, though, that if you get Tiësto along to stick a donk on it, it works out alright – who’d have thought it?
Tom: Tiesto tends to add a lot of original material to remixes – fortunately, his original material’s damn good.
Tim: I don’t have much to say about it – just that I’m fairly sure I ignored it when it came out a few months back, so thanks SoundCloud! You’ve made my life great! But seriously, can we have a way to turn that off please?
Tim: Turns out that Icona Pop/Tiësto track is just an album track, at least for the time being; this here is the current single, just out, with a video featuring a load of posh girls getting pissed. Sound good?
Tom: It ain’t my idea of a good time, but let’s hope the music’s decent.
Tom: Possibly because of that connection, I assumed that the vocalist was female — Matthew’s range is relatively high. Got to admit I prefer the melody here, though.
Tim: Mostly because there’s a lot more of it, yes, and so I reckon those two would work quite well in conjunction. As well as this being a narrative prequel, it works well stylistically too – this here is a track you’d dance to in a club or at a party, singing along pleasantly when you’re bored of talking. Then, you get home/up to a room, and you don’t really care what music you’ve got on as long as its loud and energetic.
Tom: Welp, there’s slightly too much information about your sex life.
Tim: You know me, I like to share. This is a damn good track – dancey, singable, or at least chantable, and most of all just fun.
Tom: Agreed: not quite sure about the verses, but who cares when the chorus is that good?
Tim: Right, and we don’t get many songs that are just fun, so this is nice. Well done everyone.
Tim: Tiësto, manufacturer of big dance tunes. Icona Pop, manufacturer of loud shouty pop songs. Together?
Tom: I think I can guess.
Tim: Together, as you likely guessed, they make one big loud shouty dance tune. It is, basically, exactly what you’d expect to get if you combined the two, and as far as this track goes, that’s a good thing.
Tom: Damn right. It’s not a regular playlist track for me, but I’ll be damned if this wouldn’t get me up on the dancefloor in a club. It suffers the usual problem of having a slightly dull verse, but that’s made up for by a lovely middle eight.
Tim: For a while, there’s a moment of doubt as it brings in some guitars and threatens to go all country, but it very much pulls up and, well, lets go, and brings absolutely everything out in force.
Tom: Whoa there. Farm-house music is still pretty good for me; I reckon the middle eight might be the best bit of this track.
Tim: Oh, you’re not far off there – it’s when we break out of the dance and get just with the acoustic guitars break it for me. This here is absolutely great.
It is, in fact, a cracking dance tune, albeit in a very different way from yesterday’s – one’s a get ready to go out and party, this here is very much a LET’S GET ON THAT DANCEFLOOR track. And I love it.