Scorching-on-the-heels of his pulsing electro-pop anthem, “One Means Ticket”, Robert O’Connor reveals that there’s lots extra the place that got here from, along with his new EP/mini album, “Severance”.
The 9-track observe as much as “Transcendence” (2020), sees Robert step into the large leagues, working with producers Gareth Shortland and Richey McCourt to create a group of songs which might be laser-focused.
As we observe Robert on his journey right here at talkaboutpopmusic.com, it’s notable that as his confidence as a songwriter and a performer turns into extra strong, he himself and his personal sound matures to turn into very a lot his personal and a standout from the group. That is evident within the setup of the EP and within the crafting of the tracklisting as every tune tells the story from the top to the finale of Robert’s story. And what an finish!
Loosely documenting a relationship beginning-to-end, the file kicks-off with a pounding heartbeat which will increase in tempo till it strikes into “Save You”, a thundering trance monitor that bears resemblance to 90’s and early ‘00s acts like Chicane and Sash! The hopeful tone of the opening monitor shortly dissolves to one in all despair on “Separate Methods”, the place Moloko-esque ominous synths underscore a extra severe message as Robert sings: “You place these partitions up/and I simply can’t climb them, so I look from behind/and nonetheless I see one thing’s up”.
Robert says of this new physique of labor: “I grew up within the ‘90s religiously gathering and analysing the music of the NOW! Dance compilation albums, and this file displays that sonically. The music you eat as a baby and a teen stays with you all the time.”
Robert showcases extra of this darker pop in one of many many hooks in “One Means Ticket”, a boisterous pop banger that embodies the power of peak Pet Store Boys and Bronski Beat, and is the jewel within the crown of “Severance”. Elsewhere, Scandinavian affect is clear on the delicately wistful “Been & Gone”, which tells the story of infidelity in a relationship, whereas not precisely apologising for it: “I do know I’m the one within the fallacious/however you realize I by no means belonged”, Robert sings above a mattress of bouncy ABBA-inspired synths. The closing monitor “The Final Time”, a reimagining of the 1987 Agnetha Fältskog ballad, which is full with a key-change and prolonged outro, sends the listener off with a way that whereas this is likely to be the top of a file about endings, it may very well be only the start for Robert himself!
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