Oscar Key Sung – All I Could Do
I’ve listened to this song so many times now that it feels like a word repeated and repeated to the point where it’s lost its meaning, sitting weirdly in your mouth like a mint leaf. Seriously mint leaves, how can you be so furry and also a food? Sort it out. The word is now just a sound and the sound seems foreign because all one can here are the individual phonemes, syllables and all those other pretty words that represents units of sound and so on. And so it is with this song. I’ve listened to it so many times now so as to drain it of its unifying liquids. It’s not just a song now, it’s a collection of stems layered over each other and I can’t help but hear them all individually. This is on me though, let no blame land on this here tune which you’ll soon note is one of the finest things released in recent (and not so recent) memory. Every one of said stems is meticulously crafted and aligned and so it seems, at least so far, that you can’t actually listen to this song too many times.
That voice though… That voice is what’s going to elevate Oscar Key Sung from tastemaker’s wetdream producer to international pitch-hitter. It’s a voice that’s surprisingly malleable too as demonstrated on Charles Murdoch’s Dekire where his usual heat is replaced by cold ice.
The track itself is more upbeat than anything he’s done under the Key Sung moniker and even his work in Oscar + Martin. For those of who have had the joy to see the live set in action you’ll know that this number is the heart of the performances by virtue of the four on the floor beat, resurgent dance section at the death and what’s likely the closest thing to a drop that you’ll ever hear on an Oscar Key Sung production. The future is nigh and it lives in Melbourne.
[…] perfect counterpoint to the four ito the floor anthemic pleading that was October’s ‘All I Could Do‘. It’s Alyosha to the Ivan, Seachange to his Odelay, ‘Take Care’ to his […]