Dog Is Dead are back on the road this summer with a mammoth festival tour including Hop Farm, T In The Park and Dot To Dot. The five-piece band is now releasing their new single Glockenspiel Song ahead of their debut album, All Our Favourite Stories, which will be released this autumn.
Glockenspiel Song kicks off and already it is festival season in our heads. With a big set of harmonies and backing vocals and an unforgettable saxophone the single is bold and melodic. Glockenspiel Song really becomes a beast during its chorus, which explodes into your ears with all its might. This fearsome chorus only gets bigger during its peak where big harmonies and a sax solo give the song its character and originality.
This is the sound of summer to us, Dog Is Dead’s new single, Glockenspiel Song is a fearsome beast and probably a festival favourite in the making. We love this new single and hope to catch the band this summer on a field. - entertainment-focus.com
DISCLOSURE FT. RIA RITCHIE - CONTROL
What do you mean, UK garage is back?
Jonathan Bogart: Skeletal glitch-pop is both really easy to do and really hard to get right. This lot have the advantage of working off of one of Janet Jackson’s best themes.
Will Adams: “You and me will take control,” Ria Ritchie breathes into your ear as if she’s standing right next to you, reminding everyone that love is a two-person game. That alone is noteworthy, but with lovely 2-step that alternates its setting from an echoing stadium and a claustrophic house party, this feels like that moment when you lock eyes with someone a few feet away on the dancefloor: the tacit realization that the night is just beginning.
Brad Shoup: All this talk talk talking is getting in the way of the bliss, which admittedly offers a similar ambience to a bottle-service club’s aquarium.
Alfred Soto: Pure bubble pop electric, thanks to Disclosure’s elastic beats and Ria making like 2004-era Ciara.
Hazel Robinson: This is really great- airy and frothy at the start, then the stuttering’s transplanted to a bassline so smooth it’s ridiculous. ‘Control’ is the right word- everything here is measured and calculated but it never drops its sense of fun and the knowledge that for all the stuttering trickery, it’s a song to dance to try and make people want to fuck you.
Patrick St. Michel: I’m a complete sucker for this type of dance-pop hybrid, the sort of music that can turn woozy synths and pitch-shifted vocals into something gorgeous. I really like a lot of individual details here - the soda-shop pops, the bass, Ria Ritchie’s voice - but what puts “Control” over the top is the point a little over midway through the song where everything slows down a touch and turns especially bright…only for the bass to zoom back in. I could listen to these individual noises for a long time - Disclosure turning them into a catchy song just makes it better.
Anthony Easton: The analog percussion and digital effects combine in interesting ways but not interesting enough to cover for the tepid vocals or cliched lyrics.
Edward Okulicz: This really repays listens on some good, loud speakers to better hear the disparate elements, because it’s quite impressive how all the sounds move in different directions yet gel nicely — the beats bounce and pop, the bass is a bit seasick (in a good way) and the vocals dart across with speed and otherworldiness. The distorted “control” over the chorus is a disappointing annoyance — turning Ritchie’s slickness into ugliness, and to no real effect.[Read and comment on The Singles Jukebox ]