Hit remixers Seeb seem to have a knack for shining a spotlight on underrated musicians.
The Norwegian trio somewhat revived the career of Cooler Than Me singer Mike Posner with their version of I Took A Pill in Ibiza. Now, in their latest collaboration, they place some attention on Ocean Park Standoff as they present their twist on their track, Lost Boys.
With the original chorus having a slower beat and more atmospheric feel to it, it’s Seeb that give the track the traditional spring in its step through bouncy, off-beat synth mixing in-between a driving rhythm. Such a motif across the DJs’ portfolio may make listeners wonder what sets each song from their backlog apart. Yet, it’s always the melody which accompanies the jumpy vibe which makes every new Seeb remix exciting. In this case, three pronounced electronic notes is a small touch that makes this remix all the more catchy.
Not only that, but the initial chorus serves as an anthemic build-up to the trio’s euphoric drop – the progression to which is pretty much seamless. The track starts a tad clumsy with the opening chorus cut short, but it’s stripped-back introduction which is quickly emboldened by bolder drums in the bridge. There’s no denying that – at the start of each evrse – the track maintains the laid-back style and vocal emphasis of the original. Singer Ethan Thompson’s sound (which sounds very similar to Too Close artist Alex Clare) remains soulful and powerful throughout.
Packed with a strong, kicking tempo and a colourful interlude, Seeb’s remix of Lost Boys presents Ocean Park Standoff fans with a fast-paced club alternative to a track they know and love. It’s upbeat and vibrant, whilst not overshadowing the original version in the slightest. Just how remixes should be.
If a song lacks a certain something – or kick – then it’s usually the remixes which can fill in the gaps and breathe new life into the track. The latest example is Jack Wins’ remix of Axwell Λ Ingrosso’s Dreamer – a version which adds a punch to the underwhelming drop of the original.
It’s something proven right from the get-go. Out goes the piano melody at the start of the song, and in its place is a more immediate introduction to the first verse complete with a pronounced drum beat leading up to the chorus. At this point, Jack teases us with the various styles that all work with the original – from harsh piano stabs, to a drum-and-bass like beat, before settling on a more deep house vibe in the inevitable drop.
As the track progresses, the driving rhythm from the previous verse gets a club revamp alongside heavy bass. Whilst the initial version offers little difference between verse and chorus and shows a lack of potential with its drop, Jack Wins’ maintains the emphasis placed on Trevor Guthrie’s vocals in addition to creating something exciting and diverse to listen to every second.
It’s a remix which shows Axwell Λ Ingrosso just what they’re missing from their original version, and as such, it makes Dreamer take on a whole new vibe as if it were his own.
Over five years since the DJ trio Swedish House Mafia announced their split, group members Axwell and Ingrosso have done a good job of filling the SHM-shaped hole in the world of EDM. This time, the pair return with a more reserved dance track in the form of Dreamer.
Whilst tracks like Something New and Dream Bigger have taken the more loud and bombastic route, their latest single – taken from their album More Than You Know – maintains the same anthemic vocals in a rather low-key fashion. In a sense, it’s a song which lacks the traditional punch of a busy dance hit. Whether that it is a good or bad thing in the context of Dreamer is up for debate.
Such an indication comes with the central drop of the track – something which is somewhat underwhelming when one considers the build-up beforehand. Layered with impassioned vocals centre-stage from Trevor Guthrie, a hint of the main melody and additional tones to back it up, it’s an assortment which suggests a hard-hitting hook…
The end result? A descent into a trap-like beat which, although an interesting change of style, feels disappointing until the listener plays the track several times and know what’s coming. The aforementioned elements remain, but it still feels like there’s something missing. It’s almost like the horn-like synths push the song forward, whilst the simplistic drum groove holds it back. Whilst the musical ‘tug-of-war’ may sound like an interesting concept to play with, it just leaves the listener in this weird state of limbo, unsure if this is one of those chill trap tracks or – at a stretch – an unconventional club hit.
The former is what I’ve come to accept Dreamer as being. It’s alluded to with the soft piano chords in the opening, and a slightly orchestral-style interlude in the middle of the song, but it’s not long before this atmosphere is lost to the chorus.
For me, it’s not the first song to fall victim to a delayed fondness. Initially, Something New, the soundtrack to a weekend with friends in February last year, caught my attention with its almost guitar-like melody, but something still felt underwhelming. It was only months later that whatever dissatisfaction I felt went away. On this occasion with Dreamer, the time it took for me to appreciate the change in style was shorter. Yet, in such a judgemental music climate, it shouldn’t have to be down to the third or fourth listen for it all to suddenly click – however replayable a song may be.
Despite feeling stripped back in areas, Dreamer is an interesting change Axwell Λ Ingrosso’s dance style, and in parts of the single where things may feel rather flat, that’s where the remixs – as always – can step in to inject new life into it.
It was a few days before the Oscar nominations were announced that I found out about The Silent Child. In a BBC News interview, six-year-old Maisie Sly talked about her hopes for a nomination for the movie, which also stars Hollyoaks actress Rachel Shenton.
In a section of the film’s official website, the plot is described as centring around “a profoundly deaf four year old girl named Libby who is born into a middle class family and lives in a world of silence until a caring social worker teaches her the gift of communication.” Whilst I am yet to see The Silent Child itself, simply put, the film seems to be about the beauty of British Sign Language (BSL) – and that’s a wonderful thing.
With Shenton, who has worked closely with the National Deaf Children’s Society in the past, as the film’s writer, there’s no denying that the passion is present in the script and Chris Overton’s direction. As The Silent Child centres around family life as a deaf person in addition to BSL, it certainly shines a light onto Deaf culture, the Deaf community and our language.
As such, this is why an Oscar nomination is so important to not only the filmmakers, but every member of the subculture which The Silent Child represents. Even a nomination has the power to prompt film fans to seek out the movie, which means more people seeing a story centring around an important subject.
It has the potential to inspire more people to break down the language barrier and BSL, or at least encourage viewers to find out more about life as a deaf person. At the very least, a viewer’s misconceptions are challenged. At best, they see the power of connecting over a language, and seek to learn even basic sign language in order to communicate with any deaf people they know.
On top of all this is the representation aspect. Slowly but surely, more deaf people and deaf-related stories are gaining prominence in the media. From Nyle DiMarco’s success and Switched from Birth in the US, to the great work See Hear and the BSL Scotland Act have led to in the UK, deaf issues are getting the attention they rightfully deserve.
Also, let’s not forget that Maisie is profoundly deaf herself – a detail incredibly important in a film and TV industry which seems to cast non-disabled people, neurotypical people or those without the specific condition in the role. Members of the deaf community have called for deaf actors in deaf roles, and this Oscar nomination serves as recognition that such an initiative really improves the accuracy and quality of a film. The Silent Child‘s success is a small but massively positive step for representation – both in terms of the actual story and the issues it explores, and casting decisions.
Now comes the big ceremony in March, and I wish The Silent Child every success.
I had come to believe some bizarre myths about organ donation over the years – rather shamefully. From my grave being exhumed to wondering if I had to ask my parents for permission, a lot of silly little things led to me putting the idea of donating my organs to one side to forget about… Until now.
A recent Instagram post from my good friend Vicky from VVNightingale reminded me to join the organ donor register, and as of last night, I was on the list. As a 20-year-old man (nearly 21), the issue of parental permission was no longer relevant, and any other concern I had had been dispelled by hard-hitting cartoons and, quite frankly, basic common sense.
I mention cartoons because there’s one image (which I won’t share here due to the fact it would be copyright infringement, and I can’t be bothered to find it) showing a man underground cuddling his organs, whilst a sick man waits above ground by his grave. They say ‘a picture paints a thousand words’, and the message of this cartoon was simple: why keep hold of your organs when you’re dead, and someone else could obviously benefit from them? Sure, incisions may be made to remove said organs, but I’m dead, and I don’t need to worry about looking like a ’10/10′ when I’m a rotting corpse devoid of conscious thought.
So, upon seeing Vicky’s post, I didn’t hesitate in filling out a quick and easy online form and joining the register, and would encourage you to do the same! It’s hassle-free and you could very well save a life, which is a wonderful thing indeed.
After UKIP’s National Executive Committee’s vote of no confidence in his leadership today, leader Henry Bolton was right: “the party is probably over”, and here’s why.
It was a bitter stalemate for a party which rose to success of the back of personality politics before it was ‘cool’. With a couple of resignations recently during Bolton’s time as UKIP leader, who knows if any more could follow should the former police officer manage to hold on to his position. No matter what happens now (whether Bolton resigns or members vote him out), a replacement is on the horizon in what would be an election for the fifth UKIP leader in the space of 18 months. When one considers June 2017’s snap election in amongst all these contests, could so-called ‘voter fatigue’ take its toll and finally bring an end to the UK Independence Party?
When Nigel Farage announced his resignation as leader after the 2016 EU referendum, numerous media outlets and commentators said such a decision had created a ‘power vacuum’. Now, three leaders later and it seems as though such a vacuum at the heart of the party is yet to be filled – for one good reason.
Whilst the media circus hasn’t bothered to explore the specific details of the in-fighting in UKIP (or, arguably, such details haven’t come to light), it seems as though the party longs for Farage’s return. Putting the politician’s popularity within the party aside, it was Nigel Farage that created the image of UKIP. Throughout the referendum campaign, journalists mentioned how leaving the European Union was an issue for which Farage had campaigned for many years. There’s a reason why US President Donald Trump has described the politician as ‘Mr Brexit’ – it’s because, even before the referendum was called, Brexit has been seen as ‘his baby’.
Since Farage’s departure as leader, the Conservatives – tasked with delivering Brexit – has soaked up the slogans and obsession that UKIP left out in the open during the power vacuum. The Tory claims about Labour MPs going against ‘the will of the people’ during the EU Withdrawal Bill debate is a type of whinging and complaining one would expect from UKIP, if they had becoming the strong ‘pro-Brexit voice’ the party has said they want to be.
However, with no MPs in Parliament, it’s a bit hard to be that voice when there’s no representation in the House of Commons, and the Conservatives are the only right-wing party pushing for a successful Brexit and have the responsibility and power to do so. Why should members support a ‘pro-Brexit voice’ outside of Westminster and add a further degree of separation when they can call on the Prime Minister (or, even their local constituency MP if they’re a Tory) to take direct action?
Granted, the fact that the UK still hasn’t left the EU yet may warrant such a voice in the debate, but the fact that UKIP are still the United Kingdom Independence Party following such a vote is baffling. An attempt to refresh the party with a new logo – despite it leading to some issues with the Premier League – may indeed have been a welcome move in terms of pushing the party forward post-Brexit, but it still grounded them to a single political issue.
In order to survive, UKIP must find a bold and likeable personality to fill the Farage-shaped hole in their party, and branch out from one single issue. Yet, with reports that the ex-leader may set up his own pro-Brexit party, the former seems unlikely. As for the latter, UKIP would have to go to the drawing board to think of national policies – besides Brexit – for which to campaign on. At a time of problematic leadership and in-fighting, it seems unlikely that the party would be able to agree on much as members’ patience runs thin.
With another leadership contest looming, this is the beginning of the end for UKIP.
The Wombats are certainly painting an interesting picture as to what their upcoming album, Beautiful People Will Ruin Your Life. Their previous single Turn calmed things down a bit, but now the Liverpudlian trio have returned to vibes explored in Lemon to a Knife Fight with their new track, Cheetah Tongue.
Getting its first play on BBC Radio 1 on Wednesday this week, host Annie Mac referenced comments by lead singer Matthew Murphy (published on sites such as Dork and The Prelude Press) during an interview with the guitarist: “I wanted to make an album that had more swagger, was a bit more laid back, something that wasn’t punching you in the face every time you listen to it,” he had said. In a clear sign that the band have progressed since the days of A Guide to Love, Loss and Desperation and Glitterbug, the latest trio of singles have proven that The Wombats have been able to tone down their more pulsing rock, without that damaging their unique style.
After all, Cheetah Tongue (another bizarre but quirky song title) starts with tight, solid guitar strums underneath the opening verse, before an off-beat drum groove is introduced in the chorus – adding that traditional catchiness and kick to the single. Reading this, one might wonder what sets this era apart from previous releases. My answer? The Wombats have eased off backing vocals (seen on tracks like Killthe Director and Moving to New York) and slowed the tempo a little bit. The end result being a more stripped-back vibe, whilst still being brilliantly anthemic.