Wednesday, August 9th, 2017

Axwell /\ Ingrosso – More Than You Know

EDM continues to rapidly exhaust its feature credit typography options…


Crystal Leww: To the surprise of just about everyone who knows that I love the EDM, I was never the hugest Swedish House Mafia fan, which I think is a regional preference issue. Swedish House Mafia are the ultimate European big room EDM act that spawned stuff like Alesso, Hardwell, Avicii, and Martin Garrix (“Animals” days). That strain of EDM definitely still exists, but the remaining 2/3 of SHM have made their sound bigger in a way that feels super-American. The way this revs up in the pre-drop is so great — love those handclaps and the percussive guitar. But it’s that big dumb drop that feels like it could close out a festival set with fireworks that really does it. Way to play to the lowest common denominator, bros.

Thomas Inskeep: Lower than the lowest-common-denominator EDM-pop song, this is thoroughly terrible from its music to its lyrics to its video.

Iain Mew: It’s probably not a good sign for current dance-pop when something sounding like an Avicii & Generic Turner track circa 2013 becomes refreshing. I dig that it’s properly built around the chorus, though, the low-key drop and filtered loops of the vocal lines merging into one and the same with an understated flourish. Plus One Direction backing vocalist Kristoffer Fogelmark demonstrates a knowledge of the difference between personality and overdoing every line, previously far from a given.

Jibril Yassin: Was it intentional that Kristoffer Fogelmark’s vocals were processed to sound like a mystery member of 1D? The totally serviceable hook feels like it came from a bizarro Zayn/Harry Styles hybrid that continues to confuse me the more I listen to it, but it’s clearly meant to be shouted from the top of your lungs. Similarly, marrying big house EDM to Maroon 5 robofunk works a lot better than expected. It still feels like a Johnny-come-lately, but it’s an engaging one. 

Alfred Soto: I don’t usually care for coherence, but their label should send these blokes to a creative writing course. “Let me taste your smile?” Okay. “You’re the best, more than you know”? Why wouldn’t she not know? “Your good intentions are sweet and pure”? Well, yeah — you already said they were “good.” And they would’ve sung “it ain’t over till the fat lady sings” in 2003.

Ryo Miyauchi: As a “winning the girl back” type of tale, it’s way too stubborn to find any glory in it. But the use of “you” does some wonders as a general pre-game tune: that line about being un-tameable is made to be claimed as an excuse to go a little overboard while those horns blast like a homecoming tune for a pack of gladiators.

Stephen Eisermann: The electric guitar riff in the chorus is more annoying than anything, and the music feels too peppy for the lyrics. The song is just cluttered and unnecessarily noisy, which I guess could be said about many EDM songs, but this one feels increasingly exhausting. Basically, I want EDM artists to know that just because something would sound good at an outside festival doesn’t mean it would make a good studio recording.

Will Rivitz: The machine-learning algorithms that generate pop-house bangers still need some fine-tuning, I guess.

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