The most striking thing about this track is the creative play evident throughout the recording. There’s a freedom to the production and the mix, as well as to the vocal performances featured. The track is a classic example of studio freedom, and yet it’s not been overly done so that you can’t cling to something familiar about it as the music progresses. The hook section of the track is slightly reminiscent of the classic garage sound from way back when. As the melody comes into play it provides a welcome break from the tripped up nature of the vocal snippets until this point, and again as the two swap back; the return is welcome, and is actually more effective the second time around.
The verse sections, if at first a little out there and experimental, quite quickly become recognisable and therefore easier to relate to. The longer you listen for, the more it all makes sense, and there’s an undeniable thread and level of character embedded within the sound and within that creative production that is unique to this sound.
The track is well structured, and this isn’t something that’s expressed in the first few bars – it takes a while to realise it, and I think this indicates even further the creative freedom that exists. Perhaps even more than this, the creative freedom is not alone in its journey – the music doesn’t just veer off in some experimental and non-enjoyable direction, there’s a method to it all, and it very quickly grows on you and is well worth appreciating.
The energy of the piece is upbeat and infectious, and then for the melodic sections things fall away a little – the whole track has an emotional journey within it, and it works well.
By Rebecca Cullen
Rebecca is a Musician and writer from Manchester, UK, with an MA in Song Writing
