Personally I think that it’s an example of what Gotye’s ‘Somebody I Used To Know’ video could have been if those two would just get along! In keeping with dance values, the track manages to sustain seductiveness.Ĭompared to other video offerings from artists such as Lorde (although I think that the ">Tennis Courts video made my libido disappear into the abyss), it seems that minimalism is trending in the industry. Deviating heavily from Disclosure’s original track with pop singer Eliza Doolittle whilst still maintaining the core musical features of the track, Flume applies his trademark sound of drops, drum delays and layered vocal manipulation along with a consistent string riff similar to his remix of "> Onra – The Anthem. Musically, the track is exactly what you’d expect from the F-dog. Sporting matching hairstyles and glowing white skin, it’s like watching hipsters in heat… and I loved it. The androgyny of the two is also particularly striking. In what can only be assumed as one helluva awkward filming session (‘look into her eyes, now look to the camera, now smooch, dammit, smooch!’), the video features two attractive youths tucking into each others faces.Īlong with everything that creates a display of passion amongst the young and nose-peirced the slow stroking of hair and neck, extensive lip chewing and all over heavy petting in front of a disconcertingly baby pink backdrop (CONFLICTING).Īlso I regretted watching this on the bus with old people behind me when the video reached 3.22, where, despite the frame’s strictly above-torso view, someone’s clearly reached ‘ultimate fun’. You can check out the remix below and decide for yourself whether Flume’s version of the song truly lives up to the legacy that is “Blue (Da Ba Dee).Already number one in my books for supplying the soundtrack to a life of awkward sexual experience, the new video for Flume’s stellar remix of Disclosure’s ‘You & Me’ has got me having inconvenient public fripples again (damn you flimsy tank-top fashions!). The intro is nearly identical to the original, barring a sharpness in the notes, which is further accentuated in the buildup and culminates in a more characteristic EDM drop, though one still unmistakably of the same species as “Blue (Da Ba Dee).” In his remix, Flume delicately respects the source material while embellishing the track with loops and effects more befitting a modern EDM song. Eiffel 65’s original version is simple and ridiculously catchy, qualities which have allowed the track to maintain relevancy for the past twenty years while propelling it to a meme status parallel even to Crazy Frog. Truly, it was a remix few could have foreseen and none really wanted, but somehow, someway… the song actually kind of slaps. Chalk it up to quarantined delirium, a marketing grab, or even the 20-Year Rule of cultural cycles, but whatever you do, just don’t bother interpreting any deeper meaning from the track. Why did Flume remix “Blue (Da Ba Dee)” in 2020? Frankly, the producer himself probably couldn’t elaborate on that one. The post, from the caption to the dead expression on Streten’s blue face, reeks of 21st-century irony and quarantine cabin fever. “Roses r red my face is blue here is a song I made it for u,” captioned Flume on his Instagram post. This last tactic was the one chosen by Harley Streten, the Australian producer known as Flume, when he teased a remix of “Blue (Da Ba Dee),” the infamous Eurodance song by Eiffel 65. Some exercised regularly, some honed their cooking, some took up painting, and some of us embraced the void and growing attitude of global nihilism. Some of us rekindled old hobbies or took up new ones. Some of us caught up on reading or finished that show they’d been meaning to watch. We all coped with these lockdown blues a little differently, desperately grasping for a lifeline to sanity. Already, symptoms of delirium and the madness of isolation were seeping into the social consciousness. “Blue – Flume Remix” cover art, courtesy of .Ībout a little guy that lives in a blue world.”
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