Musical Discovery: ‘Ego’ by Ella Eyre feat. Ty Dolla $ign (Jack Wins Remix)

A successful remix is always one which could be passed off as the original, if the listener hasn’t heard anything different. In my case, as I listened to Jack Wins’ remix of Ella Eyre’s Ego, despite knowing it wasn’t the initial song, it certainly sounded like the first version.

There’s no denying that Eyre’s vocals can’t fit a good dance track (look no further than her recent hits with Sigma and Sigala, which both entered the UK Top 40). From something a bit tropical (Came Here for Love) or drum-and-bass (Good Times), Jack’s remix shows Ella’s suitability for a more club-like sound. With the original version adopting a slow calypso, the club version injects some much-needed fun and pace into the track. Whilst the initial track’s chorus contains nothing more than flowing drums and soulful vocals from Ella, Jack Wins brings a new instrumental melody to this part of the song which gives it that added punch.

Disappointingly minimalistic in its makeup, the slower tempo of Ella’s song lacks a satisfying beat drop and chorus. It may well serve as a more atmospheric single compared to the 23-year-old’s previous, fast-paced pop releases, but it just lacks a certain substance. Ego sounds very much like a track one would see accompanying a big-budget emotional movie trailer. It is great background listening, and is comfortably mediocre, but there’s nothing there to warrant our full attention.

This brings me to Jack Wins’ remix, and my point about this having the potential to be considered the original. The Dutch DJ’s impressive portfolio of hits shows he is no stranger to creating the perfect hook, beat drop and chorus, and fixes all the mistakes in the initial track with ease.

The underwhelming beat drop at the start is replaced with a satisfying drum fill, followed by a chorus complete with a bouncy rhythm and sharp synth chords to set the tone. Yet again, like his Rockabye remix, Jack Wins cuts out the featured rapper in the track (Ty Dolla $ign) for the benefit of the song as a whole.

With a perfect balance between adding new things to the song, and taking other parts away, Jack’s remix style yet again brings out the best in a single in a way that makes it his own – and if that’s not the sign of a good remix, then I don’t know what is.

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Musical Discovery: ‘Dancing in the Daylight’ by Scouting for Girls

It’s been a while since we danced to She’s So Lovely at school discos. Scouting for Girls’ strong collection of pop hits were always popular throughout the noughties and early 2010s – HeartbeatElvis Ain’t Dead and This Ain’t A Love Song were songs about love and heartbreak with cheesy guitar melodies and straightforward vocals. Now, 10 years on from their debut, the band return with Dancing in the Daylight.

It’s a song taken from their upcoming album, Ten Add Ten – a release which will see 10 of the four-piece’s biggest tracks appear alongside 10 new songs. If it wasn’t for the fact that they’re celebrating such an anniversary, then the continuous regurgitating of their biggest hits would have been a bit tiresome by now (they released their Greatest Hits album in 2013 and have also re-released their debut album this year). However, there’s something smart about the idea behind Ten Add Ten: an album which will no doubt take a look back, whilst also looking forward.

Yet, Dancing in the Daylight contains all the elements of a traditional Scouting for Girls song, as opposed to being something completely different. From lyrics about a midnight kiss, to bouncy piano chords and a lively drum beat, it’s packed full of bubbly euphoria which fits the tone of the song perfectly. With hints of a Heartbeat vibe, Dancing in the Daylight sees Scouting for Girls give us a wonderful sense of nostalgia and another good song to have a dance to.

Ten Add Ten is set to be released on October 13.

Introducing ‘The Impaired Judgement Podcast’

There’s hosting a radio show, then there’s creating a podcast. The former, I have done now, on-and-off, for around two years. When it comes to the latter, despite my presenting experience, was all very new to me – that is, until today.


At 5pm, the very first episode of Impaired Judgement – my podcast which sees me and other disabled people cast a critical eye over the latest disability news – went live on YouTube (and soon, it will be available on iTunes). Despite being in front of a microphone many times before, I still struggled to find the right place to start – although I did have a detailed plan of things to discuss.

Thankfully, I had my good friend Connor to discuss things with, as he was my first guest on the podcast. Reaching the 30-40 minute target was easy. However, coming up with the name was particularly tricky (an earlier idea was Sign of the Times, before I realised that Harry Styles may have a few words). The great thing was that this new name contained a similar level of wordplay – ‘impaired judgement’ being a common phrase, but it also nicely sums up a podcast which sees disabled people discuss the latest news.

Looking ahead, the aim is to build up my ability to improvise when thinking (I often rely on scripts when on radio), and hopefully have at least one guest on per episode. How frequent the podcasts will be is something I still need to figure out, but I hope to keep a regular flow going for as long as possible.

Nevertheless, if you’re interested in hearing myself and Connor discuss noisy restaurants, the latest MMR vaccine statistics and schizophrenia, then you can give the first episode of the podcast a listen on YouTube.

Kygo develops his tropical house sound with ‘Stargazing’ EP

If one was to look a bit too deeply into the name of Kygo’s new EP, then you may think that Stargazing is a nod to the Norwegian DJ’s inspirations. After all, with U2 – one of his favourite bands – featured on You’re the Best Thing About Me, and country-style guitars appearing on This Town (which may be seen as an homage to Avicii), what’s not to say that the producer’s latest release sees him gaze at his ‘stars’ with admiration?

Though, first and foremost, the name of the EP comes from the title of the opening track, which sees Kygo (real name Kyrre Gørvell-Dahll) collaborate with American singer, Justin Jesso. Once again, whether it’s the delicate chords in the verses which intertwine with the Jesso’s rhythm, or the bouncy stabs underneath the choppy vocals in the chorus, Kyrre’s talents with the piano shine through once again. Add this to Jesso’s voice – which has the ability to be both soft and soulful (with a slight rasp to it) – and imaginative vocals, then you have a successful first track which certainly sets the tone and lives up to its name.

What follows next is two tracks we’ve heard before: It Ain’t Me (feat. Selena Gomez) and First Time (feat. Ellie Goulding), so there’s a possibility that a few people will be annoyed at the lack of new material on the EP, but at last, we have the release which includes these previous singles. Kyrre’s collaboration with Gomez sees a brief guitar melody before quickly descending into the traditional piano tune with slight vocal distortion. It’s fitting that it follows on from Stargazing, as there’s certainly a few similarities.

Compare this to First Time and you have a more minimalistic sound from Kyrre. Yet again, the producer paves the way for the vocalist (in this case, Goulding) to take centre stage in the verses, before slowly progressing into the drop. Yet, the build-up this time around feels calmer and more stripped back. Rather than a melody playing before the main tune, Kyrre relies on Ellie’s vocals in the pre-chorus before introducing the interlude. It’s a movement which makes an interesting change from other tracks, highlighting a lighter tone from the DJ.

However, by far the most intriguing track of the five is This Town. The second new song on the EP, Kygo ditches the heavy, plucky synth and piano for a more chill, country vibe. It was something the artist flirted with a little in his track with Kodaline, Raging, but now it has a much stronger influence. The tempo is slow and in a sense, it feels more like a Sasha Sloan track than a song by Kygo, as yet again, Kyrre places heavy emphasis on the featured vocalist.

It’s a track which moves away from the Cloud Nine era whilst also building upon it, but it’s not the only song on the EP to do so, as the record comes to a close with a collaboration with U2 for a remix of their track, You’re the Best Thing About Me.

Whilst Kygo has always preferred piano or acoustic guitar in his tracks, he can now have a bit of fun with a grittier guitar sound that Bono and co. like to use in their music. In that regard, Kyrre does a great job of preserving the best parts of the original (including the smooth guitar and, for the most part, Bono’s unique sound) whilst adding a bit of a spring to the tempo and some slight distortion in his melody.

As an EP which shows off Kygo’s remixing capabilities and his new direction alongside his traditional sound, it may not be just the stars which the Norwegian is looking at, as it’s a release which shows that the DJ is very much looking onwards and upwards.

Musical Discovery: ‘Million Bucks’ by Smallpools

It’s always interesting listening to the music that artists themselves listen to, as they can often lead to some fascinating new finds. Look no further than Emma Blackery’s recent livestream, which saw viewers listen to a snippet of Million Bucks by Smallpools.

It’s a quintessential indie bop, released in the height of this year’s summer season and complete with seaside guitars and anthemic vocals singing about Los Angeles. Pack all this into a 4 minute song and you have a track on the same level as Chocolate by The 1975 and T-Shirt Weather by Circa Waves. In a sense, to group Million Bucks into such a genre does give the impression that it’s yet another upbeat indie song which lacks that particular unique edge, but that’s where the catchy chorus comes in, selling the track and sets it apart from all the others.

The lyrics and instrumentals have a strong part to play in its catchiness, but without a doubt, the pacing of the chorus keeps things flowing, fluttering and interesting to listen to. Take lines such as I’ve got all my, money on you/And though my, dollars are few, where a slight pause in the middle leaves enough room for punchy guitar chords and you have a solid chorus from the three-piece band. Then, when followed by an expressive instrumental interlude, the feel-good vibes are strong as the song comes to a close.

Musical Discovery: ‘Message’ by Audien

As the name suggests, Some Ideas – the latest EP from the American DJ Audien – contains three songs all completely different from each other. From chill house to hazy synths, it’s a release which sees the musician flex his producing muscles. Yet, by far the most traditional-sounding song of the lot is the EP’s opener, Message.

After all, there’s the repeated lyrics – message from my heart/too loud to stay apart, taken from the 2010 dance track by Yuri Kane, Right Back – alongside Audien’s signature beat drops (be it a bass drum or sudden pause in the song) and delicate piano. It follows the usual structure, too: minimalistic piano chords guide the track all the way up to the main lead, which is complete with the occasional off-beat note and a satisfying rising and falling melody. Yet again, US artist sure knows how to create a euphoric dance hit.

Whilst part of this song is down to sampling and the repeated lyrics may come across as simplistic, it must be remembered that this is quite an experimental assortment of songs. Message, Resolve and Rampart see Audien try out new sounds, with each track different from the other. Simply put, it’s a pick-and-mix EP, and there’s a high chance you’ll like at least one of the three.

Musical Discovery: ‘Too Good At Goodbyes’ by Sam Smith (Robin Hustin Remix)

For any DJ, remixing ballads is always a tricky move. Aside from the fact that people like Whitney Houston, Adele and Sam Smith are household names and boast strong fanbases, pushing a slow tempo and finding a unique melody to place on top of the track could take away from the original aspects of the song. Much like how artists were quick to work on Adele’s Hello when she returned in late 2015 (to various success), following Sam Smith’s return last week, DJs are now working on remixes for his latest single, Too Good At Goodbyes. One such artist is Robin Hustin.

It’s a remix which is structurally sound throughout, following the usual rise and fall expected of a dance track. In the verses, Hustin steps back to let Sam Smith take centre stage with his vocals. That is, up until the pre-chorus, which the Danish DJ uses as the perfect build-up to a pulsating drop full of sharp club synths. Whilst the original purposefully – and rightfully – didn’t contain many instruments, Hustin has filled the gap with subtlety and flair with his own creative remix.

Update: Since publishing this review, the remix is no longer available due to ‘copyright issues’.