Creative, fluttering and unrestrained, Midnight Kids’ follow-up single Serious continues the electronic euphoria despite a few rhythmic hiccups.
Kyle Girard and Dylan Lee have had quite the busy couple of months since Find Our Way dropped in June. Their debut single after a string of hit remixes, the track (featuring newcomer klei) propelled the mysterious EDM duo into the spotlight. It soon gained over a million streams on Spotify and landed them their first few live performances – including as a support act for Alesso.
Now the pair keep the momentum going with their sophomore release Serious, featuring dance music titan Matthew Koma. Although revealed to have been “a year in the making”, the track’s tempo is slightly disorganised at points – Koma’s versatile vocals struggling to weave their way around fluttering synths in the pre-chorus. Instead, it’s the chorus which grounds the track, with punchy snare making the hook impactful and euphoric. It’s enough to make the single a worthy listen and solid addition to Midnight Kids’ catalogue.
Serious sees the Californian producers pushing themselves in a new direction – a different lyrical pacing compared to the relaxed, late-night listen that is Find Our Way. Aside from the occasional issue with timing, their latest single does well to build up the hype around Midnight Kids, showing them as experimental and imaginative musicians – and one to keep an eye on in the future.
Serious (feat. Matthew Koma) is out now.
Update: This article was updated on 13 November, when tempo issues described in my previous released were no longer apparent on the track.
After a string of hit singles, American DJ and producer Gryffin starts building up the hype for his debut album with fluttering synth and deep, hard-hitting bass on the track Remember.
“Couldn’t be more stoked to announce I’ve got an album coming,” Dan Griffith revealed earlier today. Continuing the atmospheric album artwork of his previous track, Tie Me Down, Remember appears to be the promising second single from the upcoming record.
While Tie Me Down was a slower, chilled release, Remember is more intense and expressive. ZOHARA’s soulful vocals take the song to new euphoric heights with an impressive range, while Griffith’s producing work includes hard-hitting bass, bubbly synths and a driving beat. With Remember, Gryffin not only ramps up the tempo, but successfully builds up anticipation for his debut album – and already, it’s sounding very good indeed.
Not long after the release of their second album Love Me / Love Me Not, HONNE return on Radar – a funky, robotic collaboration with up-and-coming DJ Whethan (Ethan Snoreck).
Fans of Sub Focus and Madeon may want to give the latest track from the Chicago producer a listen. Thudding synths at the start are reminiscent of the intro to the former’s track Tidal Wave, while the wacky vocal distortion sound like the chopped vocals of the latter’s song OK. There are some comparisons to be made on this latest release, but Whethan’s new single is far from unoriginal.
Settling into a unique sound whilst also remaining experimental with his releases, Snoreck continues to explore new electronic effects and staggering melodies on Radar. Andy Clutterbuck of HONNE’s smooth, raspy vocals explore new ground with the help of Whethan’s production.
A bubbly, poppy cluster of instrumentals, the chorus still has a sense of a tight tempo at its core underneath the catchy lyrics. Following on from collaborations with the likes of Dua Lipa, Oh Wonder and Broods, Radar demonstrates that Whethan has found the perfect balance between unrestrained creativity and a rigid, driving rhythm.
In keeping with his traditional style, Tie Me Down sees Gryffin combine a powerful female vocalist with flowing lyrics, a trap beat and hazy synths to make another catchy and vibrant dance hit.
Elley Duhé is certainly making a name for herself in the dance community lately. Riding off the success of a collaboration with Zedd on the track Happy Now, the American singer-songwriter has joined forces with yet another dance great.
With Duhé’s original music already containing somewhat of a trap rhythm, Gryffin certainly caters to the artist’s talents whilst also offering something a bit more creative and challenging. Lyrics are delivered at different speeds flirt with an offbeat rhythm underneath. There’s a sense that the singer is in her element here – and that’s certainly shown in her performance.
Elsewhere, Gryffin’s production talent shines through with the song’s seamless progression through verses and chorus. A subtle guitar melody guides the vocals through the verse into the build-up, switching from light instrumentals to full-on hazy synth vibes. Such is Gryffin’s skill as a producer that such a development from a stripped-back feel to a loud hook never feels rushed or sudden.
Credit must also be given to the lyrics to the track, which offers something different to the over-saturated topic of a difficult relationship and helps create a catchy chorus at the heart of the song. Tie Me Down is an incredibly slick, fresh and creative collaboration from the American DJ and Elley Duhé.
Slowly but surely, a more relaxed form of dance music with a euphoric feel is making a resurgence, and Midnight Kids are certainly helping to bring it back with their atmospheric hit Find Our Way.
Having made a name for themselves already with huge remixes of tracks from the likes of The Chainsmokers and The Temper Trap, the DJing duo are now switching over to production with the release of their debut single.
In keeping with the pair’s remixing style, Find Our Way is quickly establishes a chilled tone in the verses, sticking to soft piano chords and a controlled beat in order to allow the vocalist (in this case, up-and-coming singer klei) to shine through and guide the listener to a loud and ecstatic chorus.
After some trap in the build-up, the track descends into galactic electronica full of intriguing synth sound effects, yet it’s the pulsing chords and bass lingering underneath the vocals and melody which deliver the subtle kick to this single.
Capturing a sense of mystery and intrigue with lingering instrumentals, Midnight Kids certainly live up to their name with this chilled dance debut.
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.
From modelling to acting and TV presenting, Italian singer Ginny Vee has tried her hand at a variety of professions before pursuing her passion for music. Now, she tells Liam O’Dell more about her journey so far – up to the release of her latest single, Give Me Dynamite.
A career in the music industry is something Ginny Vee wanted since she was little – helped by the fact that her grandmother was an opera singer and piano teacher. However, Ginny’s path to her dream job saw her follow a tough road.
One problem emerged after Ginny talked about her passion to her parents, who wanted her to have a secure life. “The thing was, I didn’t want to disappoint them, of course,” she explains. “So that’s why I went to law school and I went for different jobs at the beginning.
“The thing is, it was so strong inside me – the feeling that it was the right thing to do – that when I really sat down, talked to them and talked through all of my feelings, I explained to them why it was so important that I needed to follow this career. They understood.”
Did they understand immediately? “It took quite a bit,” she admits. “The real change happened when they came to see me singing in a live concert. They saw how happy I was to be on stage – how free I was performing and enjoying the feeling, the connection between me and the people. They saw that it was the right thing for me.”
Ginny’s music career so far has seen her spend seven years working with three other singers in the cover band, Belle Ma Belle, before going solo later. In 2014, she released her EP, Heaven n Back.
“I was experimenting a bit,” Ginny explains. “I was studying my style, trying to figure out which one was the best style for me. So recently, I signed with Subside Records’ Mind the Floor, and they are more into EDM and tropical house.
“I gave it a shot. We looked at several songs together and when I heard this one – Give Me Dynamite – I thought it was a really good song. I thought it was just the right one to go for this year. It felt very actual, very modern, and I really liked the feeling of it, so I wanted to try something different.”
Give Me Dynamite has the sound of a traditional Europop single: punchy chords, tropical synths and a catchy chorus all make up a bubbly single to prepare you for summer. With euphoric instrumentals placed under lyrics such as ‘love to hate you’ and ‘want another black eye’ – it’s an interesting juxtaposition.
“That’s the first impression you could have – ‘love to hate you’ is something very strong to say,” Ginny says. “Basically, what is underneath is a story. It’s a love story that ended not very well, but actually, the meaning of it is this girl… She still really believes in the fact that the story shouldn’t end, because the great thing in that story with the guy was the fact that they were fighting.
“So actually, it’s a positive thing about that,” Ginny explains.
As well as Vee providing vocals, DJ Steve Manovski also lent a helping hand on the single. The musician co-produced Sigala’s top 10 hit, Give Me Your Love, so it’s no surprise that we hear similar piano stabs on this track.
Despite the two working together on Give Me Dynamite, Ginny is still yet to bump into Manovski in person. “I actually never met the guy, which is a shame,” she laughs. “This is how it goes in the industry right now; most of the time, you don’t meet the people.
“In one day, I recorded the vocals and everything and my producer told me there was some great news – that Manovski agreed to work on the song.
“That was great news because I really like his job and I really like his work. When they told me, I was really enthusiastic about it, but unfortunately I haven’t met the guy yet. I’d love to meet him in the near future.”
Although that is yet to happen, Ginny believes the relationship between them was very good, calling Manovski a ‘very nice’ person.
“I’m really lucky,” she says. “I’ve been working with a very professional and great team – all of them are really nice people, so I can’t complain. I’m really happy about that.”
So what’s next after Give Me Dynamite? “It’s very early,” says Ginny. “The song has been out for a small amount of time and obviously now I really want to focus on the promotion. I’m doing lots of interviews and for this one, I’m doing a lot of radio interviews and performing to promote the song. Of course, in the meantime, I’m working on my future material – more songs, more material – because I’m working on a tour for 2017.”
“In life, I’m a really, extremely shy person. So I don’t really interact well with people – I’m private with everything, but when I’m on stage, I’m really free to be what I want to be. I’m really happy,” Ginny explains.
“I feel like I’m expressing myself completely and I feel free. I’m not afraid, I’m not concerned about being in control or anything, I just feel like I really want to be on the stage forever and never leave.”