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- 😄 sumner / half myself without you review
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but first, the news
yes that’s right, news time! a short selection of links to all things going on in the music biz:
more i’ve been listening to
what is like, going on, in this song exactly. like it’s all overrrrrr the place, and maybe that’s okay actually
good! i’m glad for you, jimothy, but i can’t, so instead i have this song to keep me motivated in learning it so i can think of that sweet sweet day when someone asks me if i can speak spanish and i can say i can speak spanish
policia are really all that honestly, just sooooo good and have been forever
contents
so today, i left work and guys. the sun was sort of still up. there was the dwindling light of the sunset just bright enough for me to see airplanes sillhouted against the light and honestly, i felt something i haven’t felt for months. so this week, this song is what i was listening to then and it kinda stuck in my brain a little. so i want you to place yourself mentally there, seeing that little bit of sunshine and not losing your grip on reality that much. that’s where we’re at. 2025 year of optimism baby. so give it a whirl give it a listen, go out and walk with it in your ear, because this is sumner, and their dancey poppy number, half myself without you.
what i like
this song is a great example of a song using negative space in it’s writing. the main riff that comes in from the jump plays about with a beat without actually playing a beat, which hands off to a proper beat when the verse starts. this is a really clever technique that you don’t really see used a lot in music because unlike visual mediums, it’s just that more tricky to do and have the space you’re creating be recognised. it plays even better when the hook comes back in later on, where the vocal is then framed around an actual beat, which kind of tips the hat here a little so those songwriters out there, take note. this is a great example of crafting negaitve space by building sometihng, then taking it apart and setting the parts up one by one. it also means that when the hook comes back again on the tail end of the song, and it’s all fragmented and disjointed, you feel it as a real reward for having worked along and paid attention to the song. this is really really good songwriting, the listener gets set up, pay off and then a little something something to nibble on the train. the fact the song then goes and flips the script a little bit with the spoken work section is really great but it doesn’t even need that, you’re just getting it as an extra just because, aren’t you lucky.
what i don’t like
so what i said before? fuuhhgett aboutt itttt nah just kidding, but i do wish that hook had come round a little bit for one more jump on the horse or whatever. it’s a really great moment and i think sometimes songs like this can be a little timid when they should be a bit less timid you get me.
my drunk opinion
music like this makes me want to take up smoking
my drunk opinion
there is one artist and one artist only i was thinking of while listening to this and that, good friends, is the one and only porter robinson whomst i will be seeing live next week actually hehe
i reallyyyyyyyy like this band man. they’re so so so good and i think they’re really going to go somewhere so buckle up everyone and hold on tight. in particualr, listen to the song starlight oh man. the hook? god tier.
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