☟YES/NO☟: Mark Redito

Showing posts with label Mark Redito. Show all posts

Wednesday, 14 September 2016

🐣 MARK REDITO – YOU'LL ONLY LOVE ME WHEN I'M GONE

Skiffing through the twlight between on and offline ever further from his Spazzkid moniker of summers past, Mark Redito continues as he has always done to evolve as an artist. His latest foray into the ether of music, 'You'll Only Love Me When I'm Gone' swells effortlessly with energy and displays a characteristic change in style that feels organic. Flavoured with dancehall humidity, the track swirls between fluid cute electro and a sparse yammering beatscape, notably lacking in Redito's usually present voice and instead heading heavily onto garbled, voiceless dancefloors.

The track's title, however, does make an appearance in the music as a sampled lyric, chewed up, emotional and intoxicated, flinging its vague electronic lyricism like elastic through the lurid synth. This then repeats rapid-fire after gear-shifting booming bass build-up, stammering high-pitched above hefty kicks and not menacing but business-meaning beat punching syncopated one-twos into the less crowded space, sounds feeling more poignant pummelling away with room to breathe.

But let us not forget that a simple body-moving beat and the manipulation thereof has always been a staple of the way Mark Redito makes music; energy spiced with elation. Here and now, as ever, he incorporates new exciting sounds into his repertoire, with style fluctuating but substance remaining a constant, keeping as fresh as the first whiff of 'Getting To Know You' when it was love at first listen.

You can grab 'You'll Only Love Me When I'm Gone' for just $1 on Bandcamp. A full-length album is on the cards for next year.
The original artwork for the track was created by kikkujo, whose characteristic pen-and-pencil illustrations often depict people weighed down by weltschmerz, their bodies and expressions fine-tuned to display this subtle painful weariness.
Earlier this year, Mark Redito set up Likido, a series of curated events that provides a platform for female, POC and LGBTQ+ artists, aiming to celebrate and nurture these communities.

📠
☟ Mark Redito's Internet Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • Instagram • YouTube • Wikipedia

Saturday, 23 July 2016

NEON BUNNY FEAT MARK REDITO – ROOM314

Mark Redito (the artist formerly known as Spazzkid) features on this latest track from South Korean singer and songmaker, Neon Bunny (real name Lim Yoojin). It's called 'Room314' and it probably has nothing to do with this book entitled The Battle for Room 314: My Year of Hope and Despair in a New York City High School, nor anything to do with this film called Room 314 (might do though). It's a towering sweet romance of a track.

As NB alternates between singing softly in Korean and singing in English the touching refrain 'if you like me now it's fine, why don't you stay here with me? / maybe you will like me tomorrow, why don't you stay here with me?', fluttering chords lead into instrumental sections alive and electric with energy, buzzing synth and aching melody playing in these parts where unbridled emotion bursts in waves. Decorations throughout the track include gentle chimes and wonderfully placed dynamic drum fills – the skittering beat, chopped samples of Yoojin's voice, loving chords that fill the last half a minute of the song – little moments where your heart swells with love for the care and attention that's been placed on making this sound as perfect as possible.

Swaying between brooding calm and floods of frenzied feeling, the track reflects in this sonic twoness the nervous trembling and out-of-body vibes that swirl in your body in anticipation of romance, the wild longing, and the unreal moments that fly timelessly afterwards; being on the edge and then tipping over; kinetic human emotion, physical unending passion.

'Room314' is taken from Neon Bunny's recently released album Stay Gold, which you can listen to enjoy and download for 9$ over here on Bandcamp.

☟ Neon Bunny's Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • Wikipedia

☟ Mark Redito's Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • Instagram • YouTube • Wikipedia

Tuesday, 8 September 2015

MARK REDITO – 3AM APOLOGIES

Never send to know for whom the bell tolls; It tolls for thee… and more specifically, it tolls for Spazzkid. Hear the clanging knell kneading the air like vast clouds rolling through valleys, the ding dang dong of another musicmaking moniker moored at the banks of the ever-flowing river, never to plough through waves again.

But don't worry, Mark Redito is still around. After much consideration, the man himself decided to shed his Spazzkid moniker and just stick with his irl birth name. Specifically, aside from artistic growth, new directions and feeling as if what he's making now is quite different to what he's making now, it's to do with the offensiveness of the very name "Spazzkid", and "undergoing scrutiny" because of it – even if he was originally just named after a band.

"After careful research into the various uses of the word “spaz” as a derogatory term," he writes via email. "I no longer feel comfortable representing my music and art with a term that has the power to hurt a large group of people. While it was never my intention to offend anyone, I owe every person aggrieved by my old moniker a heartfelt apology, and this is just that. I’m sorry."

To mark (haha) this change we have a new track, heralding the turning of a page to a new chapter in the story that is the music of Mark Redito. It surfaced on Ryan Hemsworth-run, friends-only, not-a-label-but-a-SoundCloud-platform Secret Songs and it's called '3am Apologies'.

The first thing that sprang to mind whilst listening to this was festival music. Not any old festival music, but traditional music from the Japanese festival of Obon (or just Bon), held in summertime across Japan to honour the dead. What took me there? The swaying feel and dizzyily offbeat melodies of '3am Apologies' match those of the music that goes with bon odori i.e. "bon dance" – I say the music, but there are as many different variations of this dance as there are major regions and cities in Japan; perhaps it's akin to the awa odori of Tokushima on Shikoku, or maybe it's closer to Kagoshima's ohara bushi. Either way, there's a fair spot of considered delirium at work in '3am Apologies', which made me think of Bon.

Added to this inebriated festival atmosphere is a heavily swaggering dub-flavoured rhythm, further highlighting a decidedly beat-themed foray for the first venture as Mark Redito, and ornamented with countless drum ad-libs that roll and rollick with virtuosic energy, yet that feel blissfully restrained by the slow, oozingly oscillating rhythm. Swathes of fizzing synth cushion piercing lines of melody, all of it rising together in a richly layered crescendo that takes previous elements and arranges them in a model of harmony, each part slotting where it should having been individually introduced earlier on. Mark sings on the track, too, his voice sprinkled with emotion and far-off, as if a dream or previous introspection being reflected upon.

We dream with him, in the giddy ambience and half-crazed steadiness of '3am Apologies', swept along by sheets of synth – sometimes airy and ethereal, sometimes buzzing and intense – bouncing onward with the skillfully-crafted elastic organic beats as if being jostled through a crowd.

Check out the YES/NO Lazy Interview with Mark Redito, back when he was Spazzkid.

☟ Mark Redito Social Media Presence ☟
Facebook • SoundCloud • Bandcamp • Twitter • Instagram • YouTube • Wikipedia

Thursday, 27 March 2014

SPAZZKID – AT FAULT (FEAT. THERE IS A FOX) [FREE DOWNLOAD]

I love Spazzkid. How can you not? I mean, even as a person (called Mark Redito) he's really nice, so the fact that he makes really lovely music is a bountiful bonus if ever there was one. If you don't know this guy then, um, get to know: the best way is to trawl his Bandcamp page where you'll find everything from Early Demos (2004–2006), to the wholly immersive experience that was his album release of last year, Desire (願う). His lovingly crafted sounds ring with electropop, with chillwave, with J-inspired melodies, with footwork flavours and above all, with touching positivity.

I managed to miss the uploading of his latest track 'At Fault', however, but thanks to Oliver (s/o The 405) I heard it today and I knew instantly that I had to write about it and share it. This track is unique in that it features the cooperation and collaboration of fellow SoCal resident, There Is A Fox. Real name Hiro Makino, I wrote about him and his dreamily endearing brand of indie-folk-pop last Autumn, and was therefore pleased to find his sound and style permeating this song alongside Spazzkid. Beginning life as something that sampled & re-arranged a There Is A Fox original, 'Bad Day', it grew until these two artists were working alongside each other on the track.

Tagged "folktronic" I think this just about sums it up. Folk-pop guitar appears out of the void in vibrantly choppy succession with xylophonic sounds raining down in the slow sway of the song; by the end everything is jumbling together in a colourful mash of sound, from right down low with the booming bass and muffled kicks to the high registers of rattling percussion and looping guitar riffs. Vocals sing out innocently with lashings of dream-laden reverb, "It's not my fault…", calm in the zinging euphoria of the track. It is expansive, opening up as it goes along, evolving all the way, filled with wonderfully living-and-breathing organic samples and sounds residing harmoniously next to wholly electronic fabrications. At every moment it is endearing; did you hear the little cough/clearing of the throat at the start? Just another magic touch.

So there it was. Hoo-hah! It's lovely. I can't help but love it. I'm a fan. I hope you're a fan too. Fyi this song was supposed to feature on Spazzkid's upcoming EP (which I'm v excited for), but it grew and grew and, as he describes, "ended up wanting a life of its own. It stands for itself, pure and beautiful." Well well well indeed it does.

Go and download 'At Fault' for absolutely nothing.
Enjoy this little interview that Spazzkid was kind enough to agree to.

Listen to Spazzkid on Soundcloud
Hear more Spazzkid on bandcamp
Visit Spazzkid's official site
Follow Spazzkid on Twitter
Check Spazzkid on Tumblr
Watch Spazzkid on YouTube

Like There Is A Fox on Facebook
Listen to There Is A Fox on Soundcloud
Hear more oto sound (another alias of Hiro) on Myspace
Check There Is A Fox on Tumblr

Wednesday, 20 November 2013

SPAZZKID 40 WINKS [VIDEO]

Hey there people. This is the long-anticipated video for LA-via-the-Philippines producer Spazzkid. Real name Mark Redito, he released his very beautiful album Desire 願う in April of this year, which is a perfect showcase of his sound: juke-flavoured beats that underpin an assortment of very pretty sounds, from modulating synths to tuned percussion like xylophones. It's the perfect mix of electronic and organic. This particular song, '40 Winks', is taken from that very album and - as I said - I've been itching to see the video for it ever since Mr Spazzkid himself dropped tidbits of information: namely that it was being shot in Tokyo.

And that's exactly where it has been shot. A self-confessed lover of Japanese culture, it's only natural that the music Spazzkid makes so lovingly should be the soundtrack to the capital city of the country of which he's so fond. Boy does it work! It opens with a mysterious woman answering a public phone, an anonymous voice explaining: "I'm sorry, I didn't say goodbye. Wait for me. Don't open the suitcase I left behind. See You Soon." The hyper-reverbed, ancient-sounding honky-tonk-type piano chords of the song echo a sad warmth across the collection of shots of Tokyo, the long tops of hard-edged skyscrapers jutting into the sky, as well as the indomitable crowds of the city.

The lyrics of the song - half-melancholy and love-themed, like "I've been so many places, I've seen so many places, but not like yours" - match up with slo-mo shots of the woman's face, downcast, wracked with loneliness in such a bustling place. Spazzkid's delicious post-dubstep beats and delicate bell sounds illustrate her inexplicable journey across Tokyo, leading to the bridge of the song where all things turn grey, introduced by handfuls of rolling snare, where the luscious beats find room to breathe with no augmentation. The lady opens the briefcase and the music floods back in, synth bleeps adding to the now very head-bopping shuffle of the song - its busiest section - and our protagonist makes a hectic run towards the top of a building where she watches the sunset. It's a perfect soundtrack to such a video, containing within it a kind of cold euphoria, a lonely happiness, two contrasting feelings that intertwine like two embracing lovers.

Nice isn't it? Directed by Czar Campos, it stars Rika Hirota, a trackmaker and DJ in her own right under the alias Licaxxx.

If you liked this, and you haven't heard the album, you should DEFINITELY check it out. And if you want to have a try at remixing it, please feel free! The remix stems are here: spazzkid.com/desireremix.

Listen to Spazzkid on Soundcloud
Hear more Spazzkid on bandcamp
Visit Spazzkid's official site
Follow Spazzkid on Twitter
Check Spazzkid on Tumblr
Watch Spazzkid on YouTube

Friday, 27 September 2013

SPAZZKID WEIRD GIRL

I would say that this man needs no introduction, but in some ways I would like to introduce him anyway. Here is Spazzkid, a Filipino-LA-based producer who I have been writing about since May (he's really nice - here's a Q&A with him). If you don't already know him, I'd urge you to check out his music; it's characterised by almost euphoric electronic sounds combined with slow beats - but with his latest song he's diverged somewhat from that. In the email he sent, he mentioned that this could indeed be a taster of what is to come on his next album. And you know what? I am looking forward to it: fresh sounds are good, no matter if you sounded fresh before getting even fresher.

So what's different? Well, in this newest song 'Weird Girl', Mark Redito (the real name of Mr Spazzkid) has eschewed his usual slow and swaying chilled-out rhythm for something a lot more up-tempo. Coupled with this, he's laid down a biting saw-wave bassline that adds a lot more of a hard edge to his sound than I have heard before. The beat style, in fact, sounds a little UK garage if you ask me - there's something in the sketched-out, glitching beats that contains within it the insectoid wiggle of garage rhythms.

His utilisation of samples is a lot more pronounced than it has been before, too, chopping up songs and vocals and placing them with maximum dynamism throughout. The second half marks a change in the song, as synth chords punctuate the mix and everything gets nice and messy, but in a beautifully organised way: synth leads arpeggiate, clap-along claps raise the energy levels, the beat shakes and fizzes.

But he's still there. A sparkling female laugh appears, as it has done in earlier tracks, and there are marimba or xylophone melodies with an oriental spirit, the kind that have injected their gentle cheer before in some of his songs. Overall it's a new take on Spazzkid. Spazzkid+. Spazzkid 2.0. More sampling, more up-tempo - there's a lot to shout about here, and a lot to dance to. I am heartily looking forward to the next album.

This has been released on Bad Panda Records, a "next generation" DIY record label based in Rome, Italy.

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Listen to Spazzkid on Soundcloud
Hear more Spazzkid on bandcamp
Visit Spazzkid's official site
Follow Spazzkid on Twitter
Check Spazzkid on Tumblr
Watch Spazzkid on YouTube

Monday, 12 August 2013

SPAZZKID IF NOT YOU THEN WHO [VIDEO]

At the time of writing this, I've just come out the bath having listened to Spazzkid's live set on e-venue SPF420 (that's a place where people can stream a live performance of themselves to people all over the world). It was really relaxing. The style of his positive-vibed sounds and samples combined with his slow yet groovesome pace really went well with relaxation time in the bath. You could call it "bathwave" but I'm not sure if it will catch on. If it does, then Spazzkid has the rights to be Godfather of bathwave. If it doesn't, we'll pretend I never came up with it.

Anyway, all of this aside, just today Spazzkid has released a new video for a song off his most recent album, Desire (願う), called 'If Not You Then Who'. It's a glistening waterfall of a song, dealing with the feelings of loss and longing that go with a broken heart. That's what it sounds like to me anyway. The romantic plucked strings of the guitar sail gently beneath the vocals that lament their own fortune. But it manages to sound beautiful, no matter how sad the feelings behind it may be - a beat soon drops in with waves of distorted bass synth. Soon you're bopping along, forgetting that sadness.

The video is pretty cool too. It's freaky, with footage from Japanese sci-fi film, Tetsuo: The Iron Man (1989), that seems to spookily match up with the dynamic changes in the song. Despite the prettiness of the song, the scare-factor in the video is still inescapably there. Maybe that jarring effect gives a perfect illustration of the feelings of coming out of a relationship.

Pretty weird, huh? That metal arm thing reminds me of how the guy's arm in Akira begins to get all weird. One influenced or inspired the other perhaps.

Back to the song. That beat is given some well-placed limelight on its own with the subbiest of basses from around 3:40 for a few seconds. It's only a little bit, but it's enough to come up for a breather - so to speak. That beat sounds damn good on its own (maybe he just wants to show it off?). It's something that Spazzkid seems to do very well in quite a few of his songs. These little dynamic changes don't appear to be much, but I'm sure the amount of thought that goes into where they go, what's going to be involved, what to take away, how long they last, etc. etc. - the result is of course very much appreciated. At least it is by me.

The koto, plucked Japanese instrument, is a lovely touch. It's the kind of instrument that always seems to summon elegance, wherever it may be used, and in this case it's no difference. It adds a timeless appeal, making it sound quite mature at the time. He doesn't have to "rely" on synth, but even in this case those scattered synth chords are really very nice, giving it a trance-like edge. Very nice. Weird vid, but oddly works.

You can go and download 'If Not You Then Who' for free if you like :)

Monday, 8 July 2013

SPAZZKID DESIRE (願う) REMIXES

It's been a while since I was first going to write about this but so many things get in the way of so many other things, don't they? You know what it's like. But finally here it is.

Spazzkid, whose music I have been enjoying very much recently, released an album not so long ago - in April actually - called Desire (願う). Besides housing the incredible 'Getting To Know You' and the euphoric 'Loving Free', the album is brimming with a loving touch and a sense of wonder: synths pop and wind like setting suns, bass rolls and bounces like cylinders of smooth marble, percussion is toyed with and pulled into place to construct infectious beats, real instruments on loop support faraway vocals. It is a chilled and tasty slice of the talents of Spazzkid, aka Mark Redito, who has created a vibrant playground of luscious noises that resonate wonderfully.

Then at the end of last month he released a 20-track album of remixes by a number of different producers, who seem to treat the originals so well that they might as well be remixing their own songs. Indeed, "affection" is a word used in the description of the album, simply called Desire (願う) Remixes, and that word is wholly applicable in this case. It could perhaps be because a few of the remixers are fellow members of the artist collective New Generation (e.g. DINOSAURUS REX, Meishi Smile, Saint Pepsi) and therefore take care to do their very best in their remixes - but then again that might not have any bearing on it whatsoever.

It is, in any case, a diverse record that provides such a number of different perspectives on Spazzkid's original, all of which suit Spazzkid's sound whilst adding a delicious slant to it.

It's difficult to focus on any one part of the album and to avoid being overly waffly, I'll just give examples of how nicely variegated the sounds of this album are. You have stuff like the Hotwax remix of 'If Not You Then Who', which is a mellow cloud of synth hung with heavy bass cut with a darker vibe that pervades the song, but then again you have SVNDAZE's remix of the same song which puts the spotlight on Spazzkid's vocals over the wholly calm sound of a koto, before leaping into a whirlwind of chillment.

Another favourite of mine at the moment, Wasted Nights, gives a characteristically 80s spin to the ultimately catchy 'Loving Free', loading it with modulated synths and epic drum machine snares - yet TELEPHOBIA gives 'Loving Free' a bleepy house remix, turning it into a dancefloor-friendly number, chopping and looping Spazzkid's original sounds. Meishi Smile's 'First Digital Love RMX' is a euphoric house treatment of the same song, whilst Saint Pepsi veils it in his lush retro vibes.

DINOSAURUS REX retains the same twisted chill of 'Kokeshi Doll' but Diego Mapa turns it into a clatter of percussive beats and ray-gun synth. There are so many more things to say but I'd just end up going on and on and on... in short, however, this is a wonderful listen from start to finish. It is by turns chilled and energetic, slow and fast, filled with a dynamic that you cannot help but get sucked into - it's a genuine joyride, or a free-fall through sound-representations of pleasure; Spazzkid has a lot of talented friends, that much is evident!

TRACKLIST
1. Getting To Know You (su na Remix) 02:58
2. Loving Free (TELEPHOBIA rework) 02:15
3. If Not You Then Who (SVNDAZE remix) 02:36
4. Candy Flavored Lips (bo en イパネマREMIX) 04:24
5. Marquez (KEV//BOT Remix) 05:07
6. If Not You Then Who (Touurs Remix) 04:27
7. 40 Winks (Tyord Remix) 03:33
8. Kokeshi Doll (mus.hiba remix feat Sekka Yufu) 04:11
9. Forgiveness (Thompost Remix) 05:49
10. 40 Winks (Justin De Guzman Remix) 04:56
11. Loving Free (Meishi Smile's First Digital Love RMX) 03:50
12. Kokeshi Doll (Diego Mapa Remix) 04:40
13. Getting To Know You (James Deen Remix) 02:57
14. Candy Flavored Lips (SimilarObjects Alpha State Edit) 03:26
15. Loving Free (WASTED NIGHTS Remix) 03:24
16. Kokeshi Doll (DINOSAURUS REX Remix) 03:04
17. Candy Flavored Lips (SAYURI Remix) 04:24
18. Getting To Know You (PARKGOLF Remix) 04:33
19. If Not You Then Who (Hotwax Remix) 04:13
20. Loving Free (Saint Pepsi Remix) 04:20

Wednesday, 5 June 2013

SPAZZKID LIVE ON #SPF420

Yeah, if you're reading this thinking, "wtf is #SPF420??" then you are in the same boat as I am. That is, a boat adrift and constantly in wonder at what marvels/marvel at what wonders can be found on the internet. There's a lot to find. Anyway, I should probably explain what exactly #SPF420 is.

It is an online venue, unique in that it exists exclusively online, and it is a veritable hotbed of New Generation artists - I explained a little about New Generation when I wrote about SAINT PEPSI - one of the brains behind it all - a few days ago, but to reiterate basically: it's an artist collective leaning towards a wholly net-based music industry (my assumption). Alongside SAINT PEPSI are many other artists including Spazzkid, whom I wrote about the other day.

Enough of the Pokémon-style digression into the proclivities of this artist collective. More about the music. The reason I'm writing this is that Spazzkid has gone and done a 25-minute set on #SPF420, which aired yesterday. Astoundingly, this only has (at time of writing) 7 views, which is mental considering the sound of the music itself - not so mental if you consider the pitfalls of being a relatively unknown artist. Anyway, without further ado, please enjoy the smooth, wholly chilled vibes of this man's innovative beat-strong glitch-hop electro-pop.

The tracklist is this:
1. Forgiveness
2. Kokeshi Doll
3. Getting To Know You
4. Better Off Alone (Alice DeeJay cover) UNRELEASED
5. Loving Free

Yep, from the clicky otherworldly ambience of 'Forgiveness', to the sombre sunset romance vibes of 'Kokeshi Doll' - both with their fair share of bassy rumblings - we arrive at the wonderfully cute 'Getting To Know You' with its bouncy vocal samples. Then a surprise cover of Dutch Eurodance group Alice DeeJay's massive 1999 hit 'Better Off Alone', done to Spazzkid's trademark swaggering beat and complete with mind-ooze synths and steel drums. The set ends with the ravey 'Loving Free', a sharp cross between lo-fi bedroom pop and the soundtrack to people playing volleyball on a yacht harboured in the Maldives.

The visuals are great, too, and found according to Mark Redito (real name of Spazzkid) "from deep internets". Certainly looks that way. In any case, they're cool and fit the style of his music totally. He also looks like he is having a very nice time playing the music that I can only assume he loves making.

All songs come from his new album Desire, which is totally out now.

Like New Generation Collective on Facebook
Like #SPF420 on Facebook, too
Keep an eye on #SPF420 online venue

Sunday, 26 May 2013

SPAZZKID GETTING TO KNOW YOU

Hello. There is some music that is created with such an atmosphere, music that evokes different fantasy worlds almost, ones that you can taste on the tip of your tongue and feel on your skin like rays of light from the sky of a world with two suns; or if that scares you, just a regular perfect-world version of our own world. Colours alive, gentle breezes, mild nights.

Yeah yeah, this is the kind of vibe that inhabits 'Getting To Know You' by Spazzkid - but who is that? Well otherwise known by the real world name of Mark Redito, he comes from Manila but currently resides in LA. What he has created is a sonic wonderland, the perfect scenery for the passing of a perfect day, a beautiful escapist soundtrack that bursts with carefree electricity and popping colours that paint the fantasy-land as it moves along, like a stage from Yoshi's Island or something.

I suppose in a way the song is reflective of its title: it illustrates all the butterflies and small smiles that accompany the sweet feeling of getting to know somebody that you already know that you like a lot. It's sentimental without being emotional, capturing instead the side of emotion that triggers haphazard happiness. See fo yo self.

Cutesy synth piano sets down the melody and cut-up acoustic guitar chords gives the song its foundation, to which a nicely modulated bass responds in kind. Interestingly, the whole song is backed with a dubstep beat - I don't like saying that though because it makes the song sound as though it is a "dubstep" song, which it ain't. It's a half-speed drum and bass rhythm, giving it a laid-back-yet-restless feel. Vocal samples feature throughout, yet are at their best in the song's halfway breakdown, when the beat is given room to breathe - here the vocal samples are chopped up and used as an instrument themselves. At this point, too, a solo synth melds over the top: lovely sound, like a stylophone.

Towards the end, a nerf-machine-gun type popping synth sound - a synth tom drum, maybe? - crazes its way towards the finish. A very electro-pop sound, in a world of cute-chill. There are also vocals from Mr Spazzkid himself, lo-fi and reverberated, that pop up just a few times in the song. Overall, everything in this song comes along in such varied ways and the dynamics are played with - it's a playground of sound that is just too fun not to listen to at least twice in a row upon first hearing. I know I did.