The title track from British DJ Sigala’s long-awaited debut album Brighter Days, featuring Paul Janeway from St. Paul and the Broken Bones, is a strong deep house opener packed with euphoric, feel-good vibes.
With it being just over three years since Norfolk-born Bruce Fielder released his smash debut hit Easy Love, dance fans have become quite accustomed to the producer’s particular style across the many singles the 25-year-old has released to-date. Take vibrant tropical house with the occasional funk and deep house influences and you have Fielder’s traditional sound which has seen him achieve seven Top 40 hits.
These seven chart successes all appear on the album, with 10 of the 16 tracks already being released as singles. While the popularity of these songs has already been proven, it’s the new collaborations with big names such as Kylie Minogue and Kodaline that have fans interested. Yet, while they show the range of Sigala’s tropical house sound, they fall short of conjuring up the last drop of summer – something which is probably not helped by the record’s autumnal release.
Of the few tracks which we haven’t heard before, it’s opener Brighter Days which is particularly distinctive. Janeway’s vocals have a noticeable Sam Smith/John Newman twang which is far from unfamiliar to Fielder and his listeners. What’s new and different is the deep house hook which is something fans have heard more of in live performances than in the studio (with the exception of his track with Blonde and Imani Williams, I Don’t Need No Money). Lyrics like “the sun breaking through those clouds” and “holding on for the brighter days” are typical Sigala – summery, vibrant and optimistic.
It’s a strong introduction to the record, with the underlying bass and heavy, hazy synth foreshadowing tracks such as Just Got Paid (feat. Ella Eyre, Meghan Trainor and French Montana) and You Don’t Know Me (feat. Shaun Frank, Flo Rida and Delaney Jane). However, Brighter Days and Sigala’s track with Nina Nesbitt and HRVY – Somebody – are the only two new, stand-out songs from the album. Yet, with so many featured artists and tracks we’ve heard before, there’s likely to be something for everyone on Sigala’s eagerly anticipated debut.
BrighterDays is the title track from Sigala’s album of the same name, available now on Apple Music and Spotify.
Paloma Faith is no stranger to the dance music genres. Having put her toes in the water on Sigma’s smash hit, Changing, her latest collaboration with Sigala on the track Lullaby sees her venture into the tropical house scene.
Whilst Changing – to be overly critical – could be described as just a faster Paloma single, Sigala (real name Bruce Fielder) is able to bring out the best of the Crybaby singer on this track. With a steady tempo of 120bpm, Lullaby progresses at a pace which isn’t unfamiliar to Faith.
What is different, however, is the more anthemic sound from Paloma – reminiscent of Galantis’ Runaway (U & I) – which we hear in the chorus in the catchy line: Won’t you sing me a sweet lullaby. Although the artist doesn’t shy away from powerful vocals, this collaboration sees a louder, shouty side of Paloma we’ve rarely heard before – wonderfully ironic for a track named Lullaby.
There’s no doubt that Fielder has scored another hit collaboration with this track, but whilst Faith’s vocals are to be commended, Sigala’s instrumental contributions should also be applauded as well.
Unlike previous singles, we hear a unique style of tropical synth on this track. Hit singles like Easy Love, Give Me Your Love or Ain’t Giving Up all have punchy piano stabs at its core, yet Lullaby ditches that entirely for a bubblier, fluttering electronic melody.
Yet, that’s not to say that such a sound hasn’t been hinted at before. The poppy intro to Came Here for Love is perhaps the closest to the feel of this track, which seems to suggest that Sigala is perhaps designing a more uniform style in preparation for his upcoming album (something which has once again been teased by Fielder fairly recently).
Despite what the song’s title may suggest, Sigala and Paloma Faith’s collaboration is a euphoric, feel-good track, kickstarting Fielder’s 2018 and building upon Faith’s recent success with The Architect.
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.
It’s about time that Sigala graced our song libraries once more. Save for February’s Show You Love (where Sigala was only a featured artist), it was last December when the DJ got us warmed up for summer. Now that sunny days and scorching hot weather is upon us, it seems fitting that the Easy Love producer is back with a new single, Came Here for Love.
Joining him on the single is a singer who is no stranger to helping out on dance, electronic and drum-and-bass tracks – Ella Eyre. Having previously worked with Rudimental, DJ Fresh and Sigma, the 23-year-old has quite the impressive CV as a featured artist. It isn’t the first time that Eyre has worked with Sigala (real name Bruce Fielder) either, as the two joined forces on Ella’s track, Good Times.
This time however, the DJ isn’t bound by Sigma’s drum-and-bass style, instead returning to his traditional tropical house groove. With trickling marimba and sharp piano chords, we return to familiar territory. However, as one YouTube commenter points out, with slight violin-style instrumentals, the track also has a hint of Clean Bandit to it too – a slight, but nonetheless welcome change to Sigala’s usual melodies and musical make-up.
Yet, as much as it’s about Fielder’s creative construction of the track’s instrumentals, the DJ’s other strength is his ability to showcase the featured singer’s vocal talents – something which shouldn’t have been too hard given Eyre’s past experience.
Calm and minimalistic during the verses, the focus is very much on Ella up until the chorus, where the two artists’ contributions blend together for a full-on uplifting vibe.
Came Here for Love is a traditional song in many different ways. With love as the lyrical theme of love and vibrant piano chords, it’s a traditional Sigala track and thus, a traditional summer song through-and-through too.
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.”
Even when it’s December, a new tropical house track from Sigala (real name Bruce Fielder) is always appreciated by music fans who still haven’t forgotten about summer. For the Easy Love DJ, he hasn’t quite finished with 2016 just yet, releasing one more track to add to other smash hits released this year (including Say You Do, Give Me Your Love and Ain’t Giving Up). 2015 ended with a massive breakthrough for the artist, and now 2016 ends with him becoming a fully fleshed out talent, with the release of his latest track, Only One (feat. Digital Farm Animals).
With vocals which sound like a weird mix between John Newman and Tinie Tempah, this new track is likely to be an opportunity for Fielder to showcase the range of artists he can work with. Easy Love, Sweet Lovin’, Don’t Need No Money and Say You Do all included high-pitched vocals. Now, Only One features a voice which sounds similar to Newman’s in Give Me Your Love, but for the most part, moves away from the falsetto. In the song’s bridge, we hear low-pitched vocal distortion which sounds unusual for a track from Sigala, but it works.
The chorus is always where Fielder’s talent really shines through. Once again, it contains the punchy piano chords, but alongside a fluttering melody and hazy background synths. It’s the ability to keep to a cemented style whilst trying something new within those confines which really makes a great artist, and Sigala is one.
Sigala is now a well-established DJ on the tropical house scene. Seven hit singles have allowed him to set his vibrant and upbeat style in stone, whilst demonstrating his skills as an artist. We’ve seen him feature a variety of singers on his singles, as well as dabble with different forms of house and electronica (take the drum-and-bass track Say You Do featuring DJ Fresh, for example). Now, we can only hope that 2017 sees the release of his eagerly anticipated debut album.
The music industry is tense and on edge. Now, DJs and artists wait to see which song can be considered this year’s track of the summer. After that, the bands and DJs move on. They either go on tour, release a new album or move their music away from the catchy, vibrant style which belongs to the summer season. However, there’s still time for one more feel-good single, in the form of Jack Wins’ Good Love.
Good Love contains all the traditional elements of a club anthem, with soulful vocals sounding similar to the style of Alex Newell and upbeat piano stabs which DJs such as Blonde have used in the past. With that in mind, it’s no surprise that this track from Jack Wins has Blonde’s support, as well as Lost Frequencies, Sam Feldt and Nicky Romero.
From the fluid piano melody to the repeated vocals, the song is catchy in nature and sounds predictable at first.
That is until we hear the chorus, when alongside the aforementioned piano stabs, a deep house synth plays in the background. This is then developed in the brief second verse. It’s this fusion of two club styles which will take the listener by surprise and makes Good Love stand out in the heavily populated dance industry.
What do you think of Good Love? Do you agree with my thoughts on the track? Comment below!