This Lil¹ Game We Play
SUBWAY featuring 702
It¹s hard to know where to start when reviewing a song like this. There¹s so much one could say, and so very little of it flattering. In fact this song is so featureless and boring that it doesn¹t even deserve as strong an adjective as ³bad². Imagine a B-grade greasy ballad with a monotonous backbeat and a wailing female vocal attempt, then imagine it on about 3 rpm. Not that everybody will find this to be an aural lobotomy - there may even be two or three people out there who find this song passable.
In a vain attempt to be ³with it², Subway have included instrumental and A capella versions on the B-side - at least the latter provided some light relief in the form of a heavy-breathing voice murmuring ³come on... oh yeah... first verse² and other similarly scintillating comments. This CD single wins the Little Silver Frisbee award for the least deserving record contract ever signed.
Face the Future
This three-track CD single gets points for originality and interest value. All non-vocal sounds were generated on a five-string electric violin, and the range of noises is a testament to the versatility of the instrument (and the power of digital sound editing). The melody and vaguely harrowed vocals of the single are reminiscent of some of Bjork¹s lesser-known alternative tracks, but there is an overall discordance which makes the song irritating after only one or two plays.
Happily, the B-sides are much more listenable - in Opportunity, Vylinda seems to have produced a more natural sound rather than the commercially-oriented attempt of the first song. Better still is Ruby¹s Tear, where the vocal is used more as another instrument, complementing rather than overpowering her obvious talent on the violin. This results in a peaceful, flowing track with more class and originality than the title track, Face the Future, itself.
³Huh! Yeah! I know you¹re diggin¹ this type of sh..<scratch noise> right heeeere...² Unquote. From the opening line, the tone of this song is pretty obvious. A slow rap laid over a lazy G-funk backing and perforated by a ridiculous number of gratuitous scratch effects, this song is like a bad copy of a bad copy of a Snoop Doggy Dogg reject B-side. We are continuously exhorted to ³listen to the Izm² by someone who allegedly has ³hiphop running through his veins² but frankly we don¹t advise it. The ³Izm² will almost certainly either send you to sleep, send you mad (hence the song name?) or send you out to an hardware store to find a hammer to SMASH THE CD SINGLE WITH!!!!! We would¹ve sold it to the CD Exchange but they refused it on the basis of ³quality control² (and that¹s coming from a store that deals in Christian Metal group bootlegs). The LP Version is very slightly better than the Radio Version but only because it¹s one second shorter.
Andrew Brooke and Ben Batros