The upbeat and optimistic Ode To Joy vibe contrasts well with the language and the angst of the lyrics, resulting in something that – for half of its listeners at least – will light up the room; bringing a glimmer of essential joy in an otherwise turbulent time.
“The main values I want to bring to the music world are Originality, Transparency, Clarity and Class. You know, the ability to keep making and delivering something undiluted, music that doesn’t sound like someone else’s – standing out is the deal.
The Calypso Twins first went public with their sound live on TV, way back in 1990. What’s great is that the musical-comedy duo return this summer with just as much vibrancy and love for music and performance as ever.
The simplicity of the composition can either seem heavily juxtaposed with, or completely at one with, the very idea of infinity.
Lonely builds and bubbles up in a perfectly emotional manner, right the way through until its ultimate, beautifully chaotic breaking point. A powerful and timeless track that brings together unquestionable purity and pain from the depths of the human experience.
From a distance, there’s a simplicity to the sound – an easy pop groove that lights up the room as it should. The closer you get though, the more intently you listen, the taller those personal details and that truthfulness stand amidst the ambiance.
What sets the song apart from being viewed as an exercise in retro charm is the interesting choice of the samples and the snapping rhythm track. The choral sounds could have been curated for WOMAD by Peter Gabriel, and the fact that they don’t fit the chord progression super-snugly is a dissonant and spooky delight.
Showtime Shegz digs right into contemporary turmoil and seeks to inspire and motivate with this album release, drawing you in from afar with some of the most intriguing artwork to emerge in recent years, and quickly sealing the deal with an opening track that directly and unabashedly addresses his desired audience in an open, honest way.
The song begins with a clean riff stylistically similar to The Cult, coupled with a laid-back groove. Both elements are drenched in reverb, and provide a moodier aesthetic. The sheer size of this track is certainly as the name would suggest – biblical.
The last nod to the Baby Shark phenomenon is the post-chorus part, which harks back to 50s doo-wop, with its nonsense rhythmic lyrics. Altogether now: ‘Bam-a-lam-a-lam-a-ding-dong…’
I’m not entirely sure whether the lyric was a nod to Billy Taylor’s I Wish I Knew How It Would Feel To Be Free. I really hope it was, I love the cross-pollination of genre present, and this reference would be the icing on the cake. The whole thing is undoubtedly a grower.
Fusing conceptual depth and self-reflection with a decidedly upbeat and energizing musicality, the track paints a dreamlike and ambient scene around the listener, offering insight and understanding in the same instance as blissfully well-crafted escapism.