Because I had ‘Sweet Talker’ as a song that I made with Mark and another songwriter Max, and it was good but it just lacked, I don’t know, but it was definitely lacking something.īarkaa On The Love And Fury That Fuelled 'Blak Matriarchy' “But with Galantis it was a really great sort of situation. “It was all virtual! Depending on the type of collaboration you’re doing it can either help or hinder the work you’re doing,” says Olly. With that said, you’d be forgiven for assuming they’d spent time in the studio together. A sailing, cinematic masterclass in Scandinavian dance-pop the collaboration brings out the best in both acts. ‘Sweet Talker’, Years & Years’ tenth entry into the UK Top 40, marks the only feature on Night Call with the honours going to Swedish masterminds Galantis. “I remember in the studio Mark and Coffee, really pushed me to use my voice differently than I usually would.” The Pop Companion “It is a hard song to sing I can’t lie to you, it’s very high in the chorus but it’s just a slightly different way of singing,” Olly explains. Combining the slinky, breathy vocals of Kylie Minogue’s ‘Confide In Me’ and the edge of your seat production of Madonna’s ‘Get Together’, it’s a career highlight. “We made a little family, then once you get into your groove, you know - the album happened in quite short space of time but it took a long time to get to that short space.”Īdding to their hot streak is ‘Crave’. A fitting nod to Olly’s time as Ritchie in Russell T Davies’ drama It’s A Sin, set in 1980s London at the start of the AIDS crisis. A thick four-to-the-floor kick is joined by an auto-tuned robotic voice booming the song title, with Olly’s signature melismatic vocals responding in the chorus, “You’re gonna have to suffer!” Sounding like a modern take on Patrick Crowley and Sylvester’s queer anthem ‘MENERGY’, it foreshadows many loving references to the ’80s sprinkled throughout the record. The album’s full-throttle opener takes us from Dua Lipa’s disco dance floor to somewhere more like a sunny festival field and is designed to be blasted from towering amps with rib shaking sub-bass. “ I need to go back to the drawing board and start again.” So we did a lot of stuff us just the two of us, I think ‘Consequences’ came from that.” And he’s a great writing partner too - like if you really know someone, and we know each other so well, we can just hang out in the studio and mess around and it’s fun and we’ve created a bunch of ideas by the end of the day. Mark produced all of Communion and some of Palo Santo,” Olly’s face lights up mentioning his collaborator, “I love Mark so much, he just understands the sound of Years & Years so instinctively and intuitively. I had been working with him on and off since Communion. “Going back to Mark Ralph was kind of the key component of creating the album. These aside, it was a year of trial and error before connecting with a familiar face would give the record some momentum, From around twenty drafts, two would make the cut: ‘Make It Out Alive’ and ’20 Minutes’, the latter with all the hallmarks of another lead turned soloist, Justin Timberlake. Olly’s initial attempt at kickstarting a third body of work wasn’t a total disaster. For Olly Alexander, this meant freedom from expectations about how a band should look or sound though now, more than ever, the pressure to deliver lay firmly on his shoulders. Complex and experimental, The Guardian labelled it ‘ambitious’ and while it would make its way to the top five of the UK album charts it would also reveal a band in two, or perhaps three minds, about where to go next.īy the time the first songs for Night Call were written founding member Mikey Goldworthy and bandmate Emre Türkmen had left Years & Years, after over a decade of work in the studio and on stage. 'It's A Sin' Is The First Must-Watch Show Of 2021Ĭommunion’s follow-up would come three years later with Palo Santo, its cover depicting Olly alone in a jungle, chain around his neck, face covered in mysterious symbols.
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