Tungevaag & Raaban feat. Victor Crone – Take Me Away

“Like someone has somehow attached a trombone mute to an angry yet melodic goose”

Tim: The two producers are Norwegian, new to here; Victor’s Swedish, and occasionally Estonian, and we’ve featured him previously, but not for yeeeears. Now, it is, as I’m sure you’re aware, terrifyingly hot in the UK right now, but let’s have a summery whistly song so it doesn’t seem so bad.

Tim: That is lovely, I think. I like this opening a lot, mostly because it comes along like so many Avicii-esque dance tracks and so promises a lot. Not quite so keen on the quiet bit following it, the synths don’t really work for me.

Tom: Yep. That synth sounds like someone has somehow attached a trombone mute to an angry yet melodic goose. It’s a shame.

Tim: The drums hit, though, and I’m in. The string parts, the whistling, yep, all for it.

Tom: Wait, really? It feels like it builds to nothing; the bit that’s meant to be a drop just turns out to be a damp squib.

Tim: The perfect part, of course, is the final part – it’s an unusual thing for a dance track to do in a closing section, just speed up like that, but I think it really works.

Tom: I… disagree strongly. It sounds like they’re on the last lap of Mario Kart. There are some lovely parts in here, but they’re just surrounded by parts that… aren’t.

Tim: Damn nice lyric video, though.

Victor Crone – Feelgood Day

“Those are bloody awful lyrics.”

Tim: Second single from Swedish Victor, and before you push play, I’ll ask you not to be immediately put off by the lyrics in the first verse.

Tom: Those are bloody awful lyrics.

Tim: Indeed: let’s face it, the issues are myriad. ‘Shades of grey are more than fifty’ makes it already outdated, the restricted zone metaphor doesn’t make much sense, and I’m fairly sure ‘You’re not answering your phone, right outside and I can hear you’ would be grounds for a restraining order. Add that to the inevitably irritating ukulele twanging, and you’re almost certain to end up with a song I’ll hate.

Tom: “Your life is a restricted zone.” I’d say that’s a translation issue, but I can’t even work out what that might have been translated from.

Tim: Yeah – it’s really quite bizarre. After all that, though, and just as I’m preparing to throw my iPad across the room, that chorus comes along.

Tom: And it could be so trite! The lyrics are sophomoric, the melody is predictable (and has something of the Bublé about it) but somehow the sheer major-key enthusiasm of it saves it.

Tim: It really does just sound so good. Nowhere near good enough to make up for those lyrics, verse instrumentation, the missing space in the title and entire lack of effort from the middle eight onwards, but that it still a chorus that brings along, yup, a ‘feelgood’ day. Nice lyric video as well, so, hmm, 27%.

Victor Crone – Burning Man

“Almost triumphant, when that chorus kicks in”

Tim: Victor’s new, ish – he was in Melodifestivalen as a featured singer, but here’s his solo debut, with a lyric video seemingly made by a designer who was told he could only use Helvetica, so had to express ALL THE CREATIVITY in other ways.

Tom: Hey, there’s nothing wrong with Helvetica.

Tim: Hmm, you say that, but…

Tom: Although there’s definitely something wrong with how they’re using it there.

Tim: Yes. Now, I’m not sure if I’ve felt let down by guitar pop recently, but I really wasn’t expecting the chorus to be that good, after the less than inspiring verses and that irritating “without no light” lyric, so I’m really happy with this.

Tom: Agreed: there’s a real sense of progress, almost triumphant, when that chorus kicks in. It almost sounds like modern American country-pop.

Tim: It’s a chorus that got me tapping my fingers on my desk the first time, and by the end I was almost drumming.

Tom: And “all the way down to the wire” is a surprisingly catchy chorus line, all told.

Tim: It pulls off that nice trick we saw with Rachel Platten’s track (still incredible, by the way) of dropping everything but the drums coming back from the middle eight for more impact, and it works here just as well, also offering a mirror back to the start, where we had nothing but the guitars; don’t know if that was intentional, but I’m fairly sure it proves that drums are better than guitars. Anyway, good track, bar that lyric, so WELL DONE VICTOR.