Seeb x Zak Abel – Sad in Scandinavia

“This time, I’d like to actually compliment the writer.”

Tom: Often, around these parts, I grumble about trite lyrics or cringe-inducing rhyme schemes. Well, this time, I’d like to actually compliment the writer.

Tim: Huh, blimey – the lyrics must be good.

Tom: I was originally going to complain that the lyrics were “clunky”, but they’re absolutely not: splitting slant rhymes across different clauses like that is really clever. It’s just that rather than paying attention to the song, I started noticing the rhyme scheme: and that feels rather like watching a movie and thinking “wow, those graphics are really good”. The best lyrics are not the ones you notice, but the ones that have the desired effect.

Tim: Yeah, you’re not wrong, and it is inventive. To be honest, I think that very when most people listen for rhyming in lyrics, it’s just a case of “ah, yeah, these syllables are the same” – if they happen to split up a sentence, or even a word, so be it.

Tom: Anyway, I got so caught up in analysing the rhymes that I forgot to pay attention to the rest of the music. What do you reckon?

Tim: I think it’s good – perfectly decent dance track. I WANT TO GO DANCING TOM.

Kygo, Zak Abel – Freedom

“Yep, that’s a Kygo track, pineapples, coconuts and every other summer fruit under the sun baked right in there.”

Tim: It’s only been a few weeks since Kygo’s last, and you remarked that he’d changed his style and moved on a bit; I don’t think you’d have said that if he’d released this one then.

Tim: Yep, that’s a Kygo track, pineapples, coconuts and every other summer fruit under the sun baked right in there.

Tom: I saw a behind-the-scenes on how Kygo made “Higher Love” the other day, and I’ll be honest: the answer to how he composes tracks like this is really underwhelming. Take all the vocal samples, assign each one to a key on his keyboard, and improvise until he comes up with something that sounds good.

I guess I imagined there was something more to it than “play about until it works” — even though that is, basically, how any composer or creative person works, really. 

Tim: So, let’s have a chat about the video, shall we? Because, well, you know me, Tom, I’m always the most likely of the two of us to give artists the benefit of the doubt when stuff looks dodgy, and you’re typically the cynical one. And yet, even I’m slightly wondering about the fact that the video focuses on them not being able to film it in the Maldives (actually, hang on, found a little violin between my sofa cushions, let me play it quickly), and so having to make do at home instead.

Tom: Right. We’re going to be seeing a lot of those.

Tim: BUT ALSO in the video description, we have “Directed and filmed by Johannes Lovund”. Now, he’s done a lovely job there, can’t fault any of the footage – but one guy filming in two locations, with two musicians, doesn’t exactly scream lonely isolation, does it?

Ah, well. Who cares. It’s a nice Kygo track.