EP REVIEW: 'We Don't Need Entertainment' by Quails
So Solid Records came out with some clean, crisp and fresh electronic trap when Sydney artist Quails released their single ‘We Don’t Need Entertainment’. This post-Flume sound from Quails is followed up with four extra remixes/club bangers on the EP from The Nights, Owe Money Pay Money, Tunnel Sounds and Tallah.
The original tune is an emotional piece of work with cruising wave pad sounds that cruise over our ears the way a sports car cruises along the coast. Relaxing, but exhilarating at the same time. You can see the impact Flume has had on our nations musicians, with his soul/trap/edm style passed down gorgeously to Quails.
The Nights took a right turn where Quails didn’t, moving into a gritty but excitable house remix. Imagine brighter synths, grinding bass lines, strobe lights, darkness but light when we need it, almost a balance of sounds in a single track. The use of a build up without the need for drums is what I love most about this remix. The basic uses of a high-end EQ can be all it takes to elevate you. In typical house music fashion, this is drum heavy- the type of thing that tries to make you groove, forcing your hips to swing from side to side. A job superbly well done by The Nights.
The next remix is reminiscent of hip-hop in the way Owe Money Pay Money handle the drums (all we need is Nelly Furtado back). I love the way the vocal panning is handled, particularly in the beginning. It works as a very imagery-based introduction, almost like flowers opening up to you, the kind of imagery Ta-Ku uses for his album covers. But this slowly slips into a house style breakdown, and ends with the song splintering away sections of its layers until the drums are left alone.
Another house-inspired remix, Tunnel Signs enter with a very dreamy sound featuring 80’s inspired synths: starry sounds, blips, bloops, blops and swirls. To be honest, this reminds me of 'Blue Monday' by New Order- but a brighter, less-serious version. The bass line is to die for, short bursts at an understandable rhythm which ties the chorus together. The further I progress through this remix, the 80’s inspiration only shines brighter and brighter, with the use of heavy arpeggiation and ‘kick-clap’ drum patterns. Tunnel Signs came through with a dreamy evolved 80’s sound that takes the original on a great journey.
Tallah provided a deeper house sound on her remix; longer drum sections, deeper, soul searching bass lines, almost animalistic in its intentions. There’s a certain tribal sound that can be found with this piece of work- very intimate, blood rushing. The drums push this, with the hat scattered through both sides of the speakers, keeping the listener attentive and in a head rush. The vocals feel rougher, the audio quality seems to be all-in-my-face, exciting me. This tribalistic vibe can only be brought out by the wonders of Tallah.
I just witnessed a great original followed by a great set of remixes, all of which took house music into different directions. They brought different emotions of dance music through various aesthetics of sound (my favourite being the Tunnel Signs remix). Despite my favourites all these remixes are quality tracks, songs that could be used for various occasions and moments. A splendid job by Quails and the rest of the artists.