![Review: Deco Child - S&G [Single]](http://hangout.altsounds.com/geek/gars/images/2/6/9/7/2/decosg.jpg)
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Spread the Social Love:
With a song title comprising only the initials and ampersand of Simon & Garfunkel, Deco Child’s newest single combines layered electro with hypnotic synthesisers and James Blake-esque vocalisations to create an enticing Ibiza-ready dance tune. Using synthesizers and samples in a percussively rhythmic sense a la Débruit, Alex Lloyd, the man behind the Deco Child computer, seems to approach the song in stages. Shifting large, near-tectonic layers of the song creates constant motion; underpinning the song with a simple, drawn-out synth melody creates consistent coherence.
The song is ruminative and outwardly emotional; optimistically energetic perhaps; finding some sort of obscure comfort, or at the very least a coming to terms, in the dehumanised wails of the verse, themselves laying above a shear abyss of incomprehensible vocalisations.
As the song slowly evolves from the introduction, a bitter warmth takes hold of the synthesizers, which become darkly intense. This intensity remains constant throughout the whole 7-minute original mix, ebbing and flowing at times but remaining forever there. even during the mix’s faux restart around the 5-minute mark. This not only adds to the songs euphoric dance-floor suitability, but also creates an enveloping atmosphere that can translate to most settings and moods.
‘Diamond Drops’, the single’s B-Side, has a more ‘fed-through-an-arpeggiator’ feel to it. Excessively trebly, the song is considerably weaker than the former. Here Alex’s voice sounds whiney, not lamenting as is the case on ‘S&G’, whilst there is an unfortunate over-dependence on the James Blake vocal manipulations hinted at in the A-side. The awkward pitch-shifted moans that worked so well on Blake’s self-titled debut come off as slightly plagiaristic against the vast – but not so deep – atmosphere of the song. The twinkling, bell-like synthesisers are not as enticing as the simple, shadowy synthesiser melody in ‘S&G’.
LISTEN // 'S&G'
The song is ruminative and outwardly emotional; optimistically energetic perhaps; finding some sort of obscure comfort, or at the very least a coming to terms, in the dehumanised wails of the verse, themselves laying above a shear abyss of incomprehensible vocalisations.
As the song slowly evolves from the introduction, a bitter warmth takes hold of the synthesizers, which become darkly intense. This intensity remains constant throughout the whole 7-minute original mix, ebbing and flowing at times but remaining forever there. even during the mix’s faux restart around the 5-minute mark. This not only adds to the songs euphoric dance-floor suitability, but also creates an enveloping atmosphere that can translate to most settings and moods.
LISTEN // 'Diamond Drops'
‘Diamond Drops’, the single’s B-Side, has a more ‘fed-through-an-arpeggiator’ feel to it. Excessively trebly, the song is considerably weaker than the former. Here Alex’s voice sounds whiney, not lamenting as is the case on ‘S&G’, whilst there is an unfortunate over-dependence on the James Blake vocal manipulations hinted at in the A-side. The awkward pitch-shifted moans that worked so well on Blake’s self-titled debut come off as slightly plagiaristic against the vast – but not so deep – atmosphere of the song. The twinkling, bell-like synthesisers are not as enticing as the simple, shadowy synthesiser melody in ‘S&G’.
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