Lateness (Blurb the Concept #1)

Technically speaking, I'm late. Midnight has passed, Thursday is here, and I've slipped my schedule already. For that, I apologize.

Furthermore, as it's late, my recommendation will be unduly short.

In this case, it's not a particular Deadmau5 song I want to talk about. I mean, it concerns a specific song, but the entirety of the song isn't the point.

Not that I don't like this song - I do, very much so. I've also liked the two separate parts It's been broken into, as well as the abridged version of the short segment (titled "Drop the Poptart", "Somewhere Up Here" and "Stay", respectively.) The Key - A# Minor - is so excellently toyed with that it's almost impossible to discern its actual base, while still adhering to a consistently coherent emotional impact (melancholy, specifically). the influx of the beat is noticeably without being overwhelming or garish, and the length allows for the proper "house groove."

But good god, Colleen D'Agostino.

I've always been amazed by the vocalists that most electronic music artists have been able to cull up. This isn't taking their outside musical careers into notice - Ellie Goulding aside, I've generally failed to remember their solo work. The combination of the two artists is, in my opinion, more often than not rather stunning. A proper track will be able to bring out the best in a vocalist's voice and transition flawlessly into the "meat" of a track (and back again, as the song requires). I'm startled by how frequently this "proper track" label applies.

Perhaps labeling one specific example to point out a general trend that I enjoy is a bit disingenuous, but I'd like to believe that this track is the best possible example of that idea. Colleen is breathy without being overly faint, emotional without being melodramatic and powerful without being distracting. And that's not even counting her vocal range or the lyrical content of her passage!

Thing is, I couldn't really imagine actively scouting out this sort of thing if it was just her, without any other body of work to transition into. Not that she isn't lacking in soul, here (and in her solo acoustic cover, she's certainly got plenty of it. (Seriously: I absolutely recommend giving this a listen.) And the rest of Drop the Poptart/Somewhere up here could function without a vocalist's introduction. Both complete in and of themselves - and in the latter's case, ever so slightly lacking.

But I'd like to believe that the combination of the two highlights the best features of the both: powerful voicing that heralds a delicious groove. I'd eat Nutella by itself, I'd have Peanut Butter by itself, but the two of them make for a fantastic sandwich - and there's certainly a delicious audible sandwich here. I'd recommend giving the top link a listen - or both links, if you like - assuming you're into that genre of music. And, of course, I'll keep my eyes (ears?) peeled for more examples of this sort of thing.