It is only a radio rip, but what an excellent piece this is from two of our fair country’s best upcoming producers. The Young Turks labelmates come through with a laidback instrumental that has all the hallmarks of their best work, yet manages to sound like nothing either has produced individually.
It’s quite brilliant what a few easygoing synths and a quickfire percussion can do. The layers intertwine wonderfully throughout, and between an electro-styled synth, a drifty, airy vocal sample, assorted blips and short melodies, there’s something surprisingly cohesive and deliciously bright throughout. It’ll certainly evoke a summer feeling for many, and credit goes to the duo for incorporating both the eclectic style of Four Tet’s work with the laidback effortlessness often associated with Jamie XX.
No word on an official release (or none that I’ve seen), but fingers crossed this will emerge in full, high-quality glory soon. Or at least in time for the week of summer that we’ll get.
This is about as an extreme a late pass as I’ll ever hand in, given the song is over a year old. However, having stumbled upon it by pure chance (it played automatically after something else I was listening to), my life is much better for having done so, and yours will be too.
Occasionally, a track arrives that seem to perfectly fit both a summer day and a winter night. Usually, they sit in some deliciously rare grey area between being chillout and upbeat, and that’s a zone Odesza have almost perfected with this effort. The percussion really commands this song, keeping things at a deceptively high pace throughout, but disguising that by muting many of the percussive elements in the “verses” (do instrumentals technically adhere to the verse/hook structure?), and bringing the sharper pieces back in where required to boost the song once more. Underpinning that further is a bright, summery synth that bounces through the track with vivacity and combines well with the percussion, whilst the drifty vocal samples add both calm and atmosphere, holding up the pillars for the track’s more mellow aspects.
It’s really a sublime piece of production, and one that I don’t see leaving my playlists any time soon. You can get the entire Summer’s Gone album for free at Odesza’s site, along with some newer material.
There’s nothing worse than finding a good artist just as they’re beginning to wind down or pursue other endeavours. UK producer Actress falls firmly into that category: already four albums in, it seems there’s some disillusion with music in general, and hence his upcoming Ghettoville album is said to be the “black tinted conclusion of the Actress image.”
For a new listener like myself, pressing play on a song called Rap from an album called Ghettoville comes with certain expectations. They couldn’t have been more off the mark, and I couldn’t be happier: this is a slow-winding, unhurried track that moves with a pace that belies it’s listed time of just under 3 minutes, and with no raps in sight. Instead, it’s an R&B-esque production, combining chunks of bass with gentle electronic touches and a dash of additional percussion into a style that lands somewhere between 90′s R&B and modern-day electro soul. Throw those distorted, groany vocals on top, and the song starts to ooze suffocating levels of sleaze, but given the short length of the piece, and that’s not a problem at all. In fact, the sheer thickness with which it’s all laid on combines into a pretty engaging few minutes, and most certainly a bedroom-ready bit of music.
Fans of XXYYXX, Ta-Ku and the like will definitely enjoy this. Be sure to support the Ghettoville album release tomorrow, and who knows- maybe we’ll get more of them.
To celebrate reaching 300k followers a few days back, FlyLo let loose of a .zip file full of remixes, draft tracks, loops, unreleased material and much more for his evidently growing fanbase. Given the amount of material some artists sit on (looking at you Dre), it makes you wonder why more acts don’t just do the same with tracks they never intend on doing much else with, though in fairness recieving this from someone the calibre of Flying Lotus at least comes with the comfort that even his cast-offs will be good material.
Plenty of his previous collaborators are invovled, from Thundercat to Earl Sweatshirt, whilst it seems the remix of Kanye West’s Black Skinhead has been one of the releases from the pack gaining the most traction thus far. Add to that the inclusion of material from his “side project” as Captain Murphy, and you’ve got plenty of potential contained in this archive, and enough to keep fans going until the next album. That being said, there’s another of these generous offerings planned before his next LP release- we’re basically spoilt.
“I’ve been exploring the idea of remixing other people’s music recently and I’m really enjoying it. You can be a lot less precious about things. I turned what is a rather sombre ballad into a jacked-up early ‘90s house track”.
When artists remix their own tracks (and I don’t mean in the hip-hop sense, by adding a new verse), I find it quite interesting. There are always compromises made, and often it can be an outlet to see how a band (or particular member, in this case) envisioned the track originally, or simply just acts as a measure of the adaptability the original piece has. Either way, the transformation undergone here is quite surprising: Kele takes a very slow, downbeat song and flips it into a potential dancefloor favourite. If you’re unfamiliar with the original, click above to understand just how it sits at the complete opposite end of the musical spectrum to this remix.
It’s pretty much old school house done well. The progressive, percussion-heavy build and frequent peaks and troughs are hallmarks of the genre, whilst the distorted vocals add just enough connectivity to the original to make it a remix rather than an entirely new track. Realistically, you don’t need to know or like the original- this is a fun dance number that could concievably be a big club favourite if given the chance.
In the weeks leading to Quadron’s Avalanche album release, I was certainly excited about it. However, I got somewhat distracted (probably a shiny light or ball of string) and have only got around to giving it a proper listen in the last few weeks. What it proved was that I’m self-sabotaging: it’s a superb LP that will improve anyone’s day/week/life/girlfriend.
Amongst its highlights was the first single, Hey Love, which has lost none of its addictiveness in the intervening months since its release, and here serial remixer Ryan Hemsworth gets his hands on it for a slightly darker twist. The funk is mostly pulled away from the body of this track, leaving a carcass of only Coco’s vocals, with Ryan substituting in a production built up of atmospheric synths, isolated clicks, and intermittent blasts of samples and effects for a more downbeat, but still wholly laidback effort. It’s a unique take on the track, and plays more on the bittersweet lyricism than the positive nature of the actual vocal delivery and original production, working to make this feel like an entirely new track rather than a rework- that’s definitely a compliment, as for better or worse, at least it shows a modicum of creativity and effort. Worth a go, and might appeal to those who found the original a little too upbeat.
I’m not familiar with the original, but I’m not really sure that I need to be after this. It’s another great release from an OTU favourite in the past year or so, with upcoming producer Catching Flies dropping off one more strong addition to his growing and reputable back catalogue.
Opening in gentle, atmospheric fashion, the production grows along with the dissolution of the vocals, allowing them to shine unopposed in the introductory section, and replacing them with a funky percussion line, airy synths and a couple of short, snappy samples for a beat that lands somewhere in the hallowed middle ground between laidback and head-nodding. Catching Flies brings things back down to mellow levels around the centre point, again letting the vocal work carry the track along, before once again stepping back in with the aforementioned, livelier beat, but with what seems an even stronger emphasis on the bass- the latter gives this closing section much more impact, and sways it slightly more toward the upbeat side of things, though without losing the mellow sensibilities that make the track such an easy listen. Again, it’s one of those that hits the sweet spot between easygoing and lively, hence making for extremely versatile listening that should hang around your playlists for some time.
Almost 9 months removed from the release of Anything In Return (which is close to holding on for my “best album of 2013″ accolade), and Toro manages to get more mileage out of it with a video for what is emerging as my favourite song from the album. Though a large chunk of it remains in my regular rotation, it’s this one that I find consisently unskippable, regardless of the listening environment, and this far down the line that’s rather high praise.
For a track of this quality, the video had to be one of two things: an excellent story, or visually impressive. It opts for the latter, and delivers in a unique manner with a fantastic concept and execution by Lauren Gregory: the entire video is animated from what I assume are a series of paintings, with the thick strokes and vivid colour palette making for a hypnotising watch. It’s a very original idea that captures the vibe of the track well, with its easygoing nature mirrored by the imperfect, rough-edged painting, whilst its more fun, lively elements are brought out by the chromatics and relatively busy level of activity. Whereas a story-driven video would have sought to add a layer of complexity and depth to proceedings, this direction instead allows the strength of the music to speak for itself, and merely adds a nice artistic touch to help enhance the track’s natural qualities. Worth a go whether you’ve heard the song or not, and grab that album if you don’t already own it for some reason.
Take Pusha’s gritty, aggressive sound and quite rightly, you wouldn’t think it a natural fit for Chase and Status’ electronic stylings (if you’re barely a casual fan of the latter, as I am). Here though, the duo show their versatility and adaptability as they take their powerful electro style and inject a gritty quality that suits Pusha down to the ground.
From the crunching bass through to the ominous, urgent melodies, it’s an intense production that captures a dark, industrial vibe that feels more suited to a drug-fuelled underground rave than your local nightclub. It’s a really harsh production, which in most circumstances would be a bit overwhelming for my tender ears (ignoring my heavy metal tendencies), but here is tempered by frequent ‘cool off’ periods, and believe it or not by Pusha’s snarling raps. He’s rarely known for easing a track off, but comparatively speaking his arrogant raps provide relative calm in a dynamic, high-octane environment, and hence show his own versatility alongside that of the producer duo.
It’s hard to tell whether this will translate well to clubs, but it’ll throttle your car speakers pretty well, which is more than good enough. C&S’ Brand New Machine album lands on 7th October.
If you threw dance, pop and the entire Latin American region into a blender, you’d get a cocktail that tasted something like this sounds. Most of that didn’t make sense, but you get the jist.
After their throwback funky house jam (which also got a video release recently), the veteran act switch things up yet again with this internationally-inspired, feelgood effort. Opening with a soft beach-style, the track quickly grows into a cacophonous blend of Spanish guitars, catchy vocal samples, and a plethora of percussive elements that’s part-infectious, part-indechiperable, but wholly fun and upbeat. It’s not anything you’ll find easy listening during your downtime, but certainly one to throw on in the car or on a bright summer day for full effect.
Whilst it has no business being nearly 8 minutes long, it’s a bubbly, summery track that might just continue the wholly successful comeback that Basement Jaxx have embarked upon (and inevitably, shorter radio edit is likely to find its way out soon). The What a Difference Your Love Makes EP lands on 30th September.
Some (but probably no-one) will remember his previous video release, featuring Kavinsky driving around like a bit of a hero and maiming police officers. This is essentially a continuation of that, as a superhero-styled Kavinsky stops off at a roadside diner, and proceeds to smack the ever-loving sh*t out of some rather rapey criminals/rapists. One of them even wets himself.
Much like its predecessor, it’s hardly complicated stuff, and instead is pretty much just visual badassery. Kavinsky gets to be a Superman/Terminator hybrid, beat up bad guys, and save the girl- what’s not to like. Well, besides the bad acting.
The track is a smooth electronic affair, combining jagged synths, mellow percussion and robotic vocals together for a quick blast of middling electro, sitting somewhere between lively and easygoing. It’s certainly nothing that’ll jolt you into life in the morning though, and hence is a pretty easy addition to pad out any playlist. OutRun is available now.
If you’re a fan of chilled electronic/chillwave music and you aren’t excited for this album, you should look to donate your brain to medical science immediately. And your face.
The releases from the album have been considerably more summery and upbeat than the more wintery soundscapes of his Within and Without album, putting greater emphasis on creating positive, bright productions behind those trademark mellow vocals. Given that it’s only a 9-track album, I highly suspect that positivity is going to be the general theme of this LP, and when combined with the natural easygoing qualities of Washed Out’s work, that’s got plenty of potential to be a great accompaniment to your summer. Give the album a go below, and be sure to pick it up next Tuesday.
An easygoing yet fun effort from Cyril, provided as the b-side to his increasingly-popular Perfect Form single.
It’s significantly mellower than the aforementioned release, throwing down atmospheric synths, slow-moving percussion and a dash of additional samples for a laidback soundscape. It’s built on by the inclusion of distorted guitar melodies and lively vocal snippets as the track progresses, adding a touch of energy and bounce, as well as bringing out the funky side of the deep bass work-the package combines for a very smooth, easy listen that’s rather easy to give several repeat spins to. There are few easier styles to enjoy than relaxed electronica done well, and this is about as prime an example of that branch of music as you can hope to find; enjoy the stream below.
After bursting back onto the scene with the leftfield but incredibly catchy Back 2 The Wild, the boys are heading in another direction with their latest single; namely, throwback house.
This is right out of the early 00′s era of UK dance music, and hence I expect it’ll be a favourite for many this summer. Buzzing synths, high-tempo percussion and a pack of additional melodies all combine for an upbeat, uplifting track with relentless consistency- the production is unerringly positive from start to finish, throwing in influences from funk, house, trance, pop and more for a surefire dancefloor filler. Topping it all off is a set of hugely addictive vocals from upcoming singer Sam Brookes, whose performance is not only suited nicely to this electronic anthem, but shows hints of a soulful quality that might make him one to look out for in a solo capacity. For now though, this is another win for the veteran act, and I’d be surprised if it doesn’t end up as a club and radio favourite in the coming weeks.
Having been a fan of the audio on its release a few weeks back, it’s good to see Washed Out return to his luscious soundscape with an equally exquisite video accompaniment.
You’d be forgiven for thinking you’re watching Discovery or Nat Geo with this. It plays out like an advertisement for the greatest nature documentary of all-time, featuring slow-motion clips of some of the natural world’s most incredible sights, from free-roaming wild cats to vivid marine life, and adds masses of grandeur to an already-expansive production. It’s ever so simple, yet the rich depth of colour, slow-motion capture and the sheer biodiversity combines for a natural style that may be familiar in other forms of media, but is rarely executed in such fashion for music videos. His dreamy soundscape is a perfect fit for the spectacular scenes too, with the two combining well- the reflective, relaxing aura of the audio is an obvious fit for such visuals, with the brilliance and variety of the colours also helping to build on the track’s inherent mellowness by injecting flashes of intensity. A very enjoyable experience all-round, and don’t forget to grab his Paracosm album on 13th August.
Any links to the original are hardly noticeable in truth. Under SBTRKT’s influence, it has become a glitchy, experimental production that throws together stop-start percussion, a plethora of crisp, piercing melodies and a touch of James’ vocal harmonies, with the latter being the only obvious connection to the original. Given that it doesn’t have the smooth, sultry vibe of Drake either, it can be fairly taken as a piece independent to the original, and in that light it’s a relatively easy listen that I’m sure many chillout electro heads will be really into.
The infectious positivity of the original track is worringly addictive, and you throw the ever-enjoyable A-Trak into the mix, and you’ve got a twist on that catchy song that’ll command equal footing in your summer playlists.
Coming in at a shade over 7 minutes, it may seem daunting at first (for those with a small brain), but it’s dynamic enough to keep you entertained the whole way through. The opening makes great use of the inherent positivity transmitted by the vocals, throwing them above a production that’s rather similar to a sped-up version of the original backdrop. A-Trak’s influence in wielded more strongly in the following section, as he throws forth bright, vivid synths that infuse the track with a bounce that’ll allow this to translate to the club scene rather easily- it’s a clever juxtaposition, as the heavy utilisation of the original in the intro contrasts well with its almost complete omittance from the middle portion. The track switches back to something resembling that intro once again, but with much more vibrancy, as A-Trak pairs those uplifting vocals with a lively yet slow-building production, leading into an explosive final quarter that brings the buzzing synths of the middle section back. Sure to be a favourite with the electro and house fans, and one worth throwing onto your sunny day playlists.
Many understandably find it odd when an act remixes one of their own songs, but to me, it shows that a song doesn’t have to be cut loose and full stopped when complete; there’s room to move a track in another direction. That’s not saying a song needs improvement, but simply applying its component pieces in a different way extends its life beyond one mode of output.
And that’s what Jamie does with this remix. It’s by and large all the same parts that made up the original, but shuffled around a touch, most notably with the dulcet guitar plucks altered into a more stunted approach, whilst the changes are embellished by crisper percussion and a higher tempo. There are segments which are near-identical to the original too, particularly the first half of Romy’s vocals, and hence it feels like a sideways move on the original rather than attempting to completely overhaul it-a move that I’m on board with, given the original’s fantastic quality. The rework ends up retaining the dark, moody vibe of its origin work, but injects a touch of energy and positivity that makes it much better suited to the summer than the original, and hence is a good reimagining of the piece.
The video is made up of footage from a French TV show, and whilst the throwback clip clearly has no direct or obvious link to the song, its minimal, oddly hypnotising nature links up to the audio well. Worth a watch, and definitely worth a listen.
The duo revealed a short while ago that a 10-minute remix of their ubiquitous single was coming (along with a full remix album of Random Access Memories), and given that the original has been played to the point whereby it’s probably our new national anthem, it’s a timely refresh.
If it ain’t broke, don’t fix it. This is essentially an extended cut of the original, clearly being the origin work from which the radio edit was carved, and hence it’s got all the positive vibes of the original, just plenty more of them. Whilst it’s clear which segments they cut out for radio use, the overarching upbeat qualities of the production blends those sections in very smoothly, and as it moves through its various iterations, the sheer dynamism and flexibility of their work makes the 10-minute journey pass incredibly easily. I’m not totally sold on the album itself (a seperate discussion), but here they’ve taken its standout piece and essentially stretched it out and ramped it up a few notches, which is absolutely no problem with me, and I expect it won’t be with many others. Stream the track here for now, and look out for its release on 15th July.
Cyril’s done a great job at positioning himself as one of the premiere remix artists in the electro/dance field, taking on several new releases and classic jams and delivering great refreshes of both in recent months. Now, he’s preparing for an album of his very own, and kicks off with this excellent effort that should find a home on many summer playlists.
Creating mellow electro with a little vibrancy is rarely an easy task, but Hahn manages it well here. The verses throw together drifty samples and synths with thudding, bassy percussion for a nice layer contrast, whilst the vocals are gentle enough to synergise with those soft melodies. The hook steps up a little, with the vocals shifting to a more overtly positive style, along with a couple of additional synth layers and retooled percussion for increased depth and energy. The progression completes with a lively final third, moving into a more expansive style courtesy of sharper, more piercing melodies really filling out that soundscape, and finishing off what is a very likeable piece of (relatively) laidback electronic music. Sadly, it’s not out until 9th September, so you might want to bookmark this for repeat streams.
The second release from Washed Out’s upcoming Paracosm album, and it’s another good effort to add to the album’s first single.
As with that previous release, there’s a welcomed positivity running through this one, though unlike It All Feels Right, this leans heavier on the chillout side than on the upbeat electronic elements. There’s an overarching smoothness that contains the lively, clunky percussion, brought about by the combination of Washed Out’s vocals and the occasional burst of airy, atmospheric synths, making for a very easygoing listen without becoming boring or overly predictable. The track’s highlight is most certainly those relaxing vocals, with a consistency in delivery that retains the vibe of the song even when the more upbeat elements throw their weight around throughout the hook section; it’s a great use of vocals as a technical layer rather than a foreground attention-grabber, and hence rather than sounding distinct from the production, they add a good deal of depth into the overall soundscape.
Worth a listen for sure, and don’t forget to give that Paracosm album a go upon it’s release on 13th August.
The first single from this EP was a thoroughly enjoyable listen, encapsulating the imagery evoked by the project’s title very well, and Catching Flies has now made the full EP available to both stream and buy.
Considering this month is/has been/will be heavily hip-hop oriented, the mellow methods of the talented upcomer will definitely make for a good break away from the rap genre. The quality of his instrumental work has been proven several times over, and it’s good to get a lengthier project to see just how that production work has evolved and developed. I’ve not quite got around to listening to it yet, but I’ve no doubt it’ll slot right in to my summer playlists, and fully expect another raft of quality tracks from the gifted producer. Stream the full EP here, and should you be impressed, be sure to support and buy it too.
Along with Toro y Moi (and others, of course), Washed Out is viewed as one of the true purveyors of the chillwave sound, and certainly went some way to taking the genre to relative mainstream success with his popular Within and Without album in 2011. Parascosm, his second LP, is due out on 13th August, and we’re treated to a bright, summery single from that album, one that moves into a more positive state of mellow electronica.
That’s not to say it doesn’t have easygoing qualities of course. The guitar strums are rather gentle, the synth work is drifty and the vocals are distorted enough to sound like they’re coming at you from some kind of time-travelling transmitter; the combination is a rather retro feel, with the upbeat qualities of 70s pop but thrown together with a modern touch of electronic melancholy. The track’s generally scratchy nature helps further enhance the throwback qualities of the production, whilst the steady and sharp live percussion occasionally allows the track to break into the indie genre slightly- comparisons will rightly be drawn with some of Unknown Mortal Orchestra’s recent works, and though this exhibits a little more electronic influence, that same hint of psychedelia is undeniably evident. An enjoyable listen, and it’ll be interesting to see if the rest of the album follows this retro pathway, or opts to keep switching things up.
A second release from the upcoming BigBear, and this time he swaps out the mellow, atmospheric stylings of his introductory piece for a livelier, more upbeat piece in a good show of versatility.
There’s still an overarching mellowness about this, ensuring the track’s constituent electronic elements don’t spiral too far into electro-pop territory, and hence keeping a lid on the intrusiveness of the production. It works for me, as this middle ground ends up in an upbeat chillout style that’s rather hard to build, with the combination of buzzing synths contrasting the soft, airy vocal samples to create the bulk of that style, whilst the underpinning of easygoing, hip-hop influenced production ensures the tempo and flow of the track remains controlled and listenable. 2 for 2 from BigBear.
After a breakout 2012 with The Stars EP (seriously, how few acts in our history have gotten a feature article for their first post?!), Catching Flies returns with his next project, The Long Journey Home.
Such a title conjures up images of, unsurprisingly, long, arduous travel; I’m sure many can relate to the image of desolate motorways or red-eye flights, and if the rest of the EP is in the vein of this single, it appears Catching Flies is about to soundtrack those occurrences. Stay Forever combines wistful, atmospheric synths in with bassy yet soft percussion that doesn’t break too far away from the mellow soundscape, ensuring it doesn’t disrupt the natural reflectiveness created and instead works as a key component in developing that vibe. The occasional touch of relatively gentle vocals works to add a nice melodic layer, whilst the surprising inclusion of saxophone towards the end provides an unexpected twist to proceedings, but again without disrupting the track’s natural flow, instead adding a welcomed vintage flavour to the electronic piece.
Another top piece of work from the talented upcomer, and you can get the track right now if you pre-order the full EP; for a mere £2.50, you can’t really go wrong.
With just over a week until the album officially hits retail, Gold Panda lets the entire LP go for some free pre-purchase streaming. It’s always a sign of confidence in an artist’s work when they do such a thing, and I’ve got little doubt that confidence is going to be fully justified.
11 tracks made the cut, including the previously-released Brazil and We Work Nights, and as if this full stream weren’t enough, he’s also been kind enough to throw forth a video for My Father In Hong Kong 1961 (which is of course, also on the album). The latter continues the international vibe Gold Panda seems to be aiming for with this project, and is an incredibly fascinating watch, purely for its simple yet captivating portrayal of everyday life and scenery in the region, and comes ably backed by an Eastern-inspired production of an atmospheric nature. Watch that here, and stream the album below; don’t forget to buy it next week on the 11th too.
We loved Say Lou Lou’s original but thought there was still room for a really upbeat version with our progressive indie flare (we hate the word flare). So we got the stems, and wanted to create something that really screams ‘let me in I want to fucking dance, but I also brought my own beer.’
Though I’m not familiar with the original, I’m going to safely assume this remix surely does justice to it as it’s a great slice of upbeat electro-pop. There’s no complication really; buzzing synths, head-nodding percussion and relatively calm verses that build to an energetic hook. Throw in the soft bursts of vocal on the hook, and this is well-rounded, textbook dancefloor music that’ll make for a good addition to any summer or club playlist.
Rose Quartz is definitely one of my favourite tracks from Toro’s excellent Anything In Return album (add Harm In Change and Say That to the list), and whilst remix is probably putting it mildly here, it’s good to see that piece get refreshed here.
This remix essentially reworks the entire track, taking its laidback, progressive nature and filtering it through an electro style that’s experimental and atmospheric in equal measure. There’s a ton of echo throughout, with the percussion reverberating heavily throughout this to create a sense of space and desolation, whilst the crisp drum hits add a slight edge in with that spaced-out vibe. It’s then built on with intermittent melodies, from short vocal samples from the original to distorted keys, and the end result is one that’s a relatively mellow listen, but with a dynamic, unpredicatable edge. Fundamentally, it bears very little resemblance to the original, and hence those looking for a slight tweak on that will be disappointed, but as an independent track its slightly dark, sombre nature makes it worth adding to a winter playlist.
Next month is not one to miss in music, it seems. Gold Panda’s Half of Where You Live lands on 10th June, and ahead of that release he lets another single go, and it’s another with plenty of international influence.
This one packs in a huge range of layers in the production, from sharp, piercing mandolin through to the pillowy percussion, and not forgetting the atmospheric synths that lie between them. There’s plenty more, and it’s a typically-detailed effort from Gold Panda that doesn’t merely throw them all in a heap, but rather lays them out intricately into a piece that moves very organically; there are one or two brief periods of downtime that serve as nice recovery points, swallowing up the lively, vibrant production that precedes them before it becomes overbearing, and gently bringing the listener back around to another dose of the high-pitched melodies. Aside from those brief turns, the more energetic aspects of the production evolve well throughout the track, with the first half centred more around the thick percussion and guitar strums, before the mandolin enters the fray to really command the second half of the piece. It’s a great release from Gold Panda, and makes for a strong sign ahead of the album release in a couple of weeks.