Home > Domino Grey - Electronic music, for Domino Grey, Track Spotlight > Music Review by Devon Jackson for “We Can Go Dancing” by Domino Grey

Music Review by Devon Jackson for “We Can Go Dancing” by Domino Grey

Over a pseudo-tabla-drum synth beat, Grey layers on other, bigger, though not at all overwhelming phrases—Moogish, rhythmic, sci-fi-ish. But nothing too big. Nothing too fast. It’s all very smooth. Very tempered. Very well thought out in terms of production, in terms of the feeling it’s wanting to convey. (As opposed to so many other electronica tunes that come at you pell-mell, or throwing out everything and the kitchen sink.) “We Can Go” is more like background music that’s finally, rightfully given center-stage—to a very mellow rave set in a very evolved near future. Picture—sonically, mind—the work of Paul Hardcastle or Jan Hammer, only without their aggressiveness, without that harsh edginess.

**Shared in a follow-up: I really like this. It’s somehow different without being pronouncedly different. What does that mean? Hmm. That you’re not trying to be different, that you’re not forcing it to be something than what it is. It’s whatever it is without you having over-thought it. Really nice.- Devon Jackson

 Devon Jackson

Devon Jackson
Magazine Editor - Freelance Music Journalist

Devon Jackson has written about music and film for a variety of publications–from Entertainment Weekly and The Village Voice to Rolling Stone and Details. He is also the author of Conspiranoia! and currently the editor of Santa Fean magazine

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Domino Grey Says:

-Following a good review makes a nice place for me to talk about the production of “We Can Go Dancing”. Not much of a track spotlight since this one fell together in a  pretty forward way.  I was grooving to it from the start. The first working had a 4 to the floor drum track that was ‘stolen’ by another song (from B Affect part II) that was just screaming it for it. So I stayed with the disco-y type drum track. DJ Boogiepop is always asking for more effects and filter sweeps in my mixes so I started this one off really Lo-Fi with the song crunched out like a poor radio broadcast. [removed in Europrint version] This is also one the simpler songs when it comes to gear use and the amount of processing. It’s 95% KORG M3 (Music) and Radikal Tech Spectralis 2 (Base and Drops). There’s a little KORG EMX for the drums and a few plugs running in the room after that.

This track became a lead single due to its popularity. It performed best on internet radio stations although a lot of DJs said “Just Look at Me” was the one to watch for. Mostly, I’ve kept them paired together and usually drop one after the other. One of my favorite parts is when the crowd gets noisy in the middle right before the song jumps back in.

And it’s funny that I used a crash. It’s so…cliche and common in most genres of music that it’s not really done in EDM. I was thinking “Yeah, I’m going to drop a classic Rock&Roll splash right as the track restarts. A big one, a  loud one. What’s funny is that it’s the simplest element, but it was also the one I spent the most time working with and agonizing over. I tried and layered over a dozen splashes from every module in the studio and none of them fit. I knew the one in my head was from my old KORG ES-1 Drum machine so I grabbed my recent purchase, the blue-meanie (as I call it) EMX and smashed away. There’s a layer of crashes that I stripped way in the original release that I put back in for the Europrint version.

Well, thanks for supporting my music. You can find it on iTunes, Amazon, Beatport and CDBaby.

A big shout to DJ Boogiepop and People’s Choice Entertainment DJs for giving my music so much burn.

Here’s me website.

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