Saturday Flashback: Watermät – Bullit

Tom: I wouldn’t normally send over a deep house song, Tim, but I heard this track from 2014 for the first time, and it stood out to me.

Tim: Any particular reason?

Tom: Because every single individual part of it is irritating, and yet somehow, I like it.

Tom: Who seriously picks synth patches like that? Who decides that a distorted foghorn should try to become the sound of the summer? Who adds a tweeting-bird-car-alarm effect last heard when Dario G remixed Jeff Wayne? Who writes what is basically a two-note melody?

Tim: So, I get your point, and I don’t know how to answer any of your questions with anything other than “well, this guy”, but it was a big song. And it might only be two notes, but it’s a catchy melody nonetheless, and that I still remember five years down the line even though I’ve probably not heard it much since.

Tom: You do? Huh. I missed it somehow. Which rather takes the wind out of my big question — who gets it into the Top 20 in the UK, and to number 2 in Belgium?

Tim: Well, it’s as you said: somehow, you like it. And so did a lot of other people.

Watermät, Becky Hill & TAI – All My Love

“It ticks all the boxes required of a track like this.”

Tim: It is SUMMER, Tom. SUMMER.

Tom: I’ll avoid the cliché British complaining.

Tim: Watermät is a French DJ, Becky Hill was a semi-finalist on The Voice UK (first contestant to score a number 1, as it happens) —

Tom: Wait, anyone scored a Number 1 after being on The Voice?

Tim: Well, a semi-finalist did – no winners have made it yet. TAI, meanwhile is an English/German DJ; nice bit of variety for you, so what do you think of the emergent product?

Tom: It ticks all the boxes required of a track like this, but I can’t say there’s much beyond that.

Tim: I was quite surprised, given the intro, how far back that initial summery/beachy vibe was pushed – this starts out as something unusual, straight out to beach clubbers, then ditches that entirely becoming becoming a fairly standard house track.

Tom: And only 2:40 for the radio edit, which is about all I think I could take of it before wanting it to get crossfaded into something else. You’re right: it’s fairly standard.

Tim: Not necessarily a bad thing, as it’s a very good standard house track, but I can’t help thinking that if it hadn’t had that initial intro I wouldn’t have bothered sticking with it. Quite glad I did stick with it, though, but I wouldn’t have minded more of that intro style.