The Spacies - Round & Round(Pilton Remix) - (Track Teardown)

Track information

Name: Round & Round (Pilton Remix) by The Spacies

Label: None

Format: File, mp3, single, 320kbps

Country: Unknown

Release Date: 6th September 2017

Genre: Electronic

Style: Trap/Chill

Listen to the song below!

Background information

'Round & Round' is song written by Singer/Songwriter duo known as The Spacies and was recently remixed by DJ/Producer Pilton. Surprisingly, Pilton's remix of the song gained signifcantly more popularity than the original track with an impressive 35.7k streams on SoundCloud as compared to the original's 7.5k streams. This is for a good reason though as Pilton has put his own original spin on the track with his skills in playing piano.

Chilled electronic music is gaining a lot of popularity currently and this track demonstrates this clearly. In fact, a lot of artists are beginning to transition over to this style to remain relevant such as Marshmello and Alison Wonderland (although Alison is still rather trap based, her tracks are all somewhat chill based, some more than others). Similarly to the song in my last track teardown, this track isn't the type to do lots of head banging to. The lyrics in this song are rather deep and were written to be relatable. Below they read as follows:

Lyrics:

[Verse 1]

I'm waking up too late for a Monday Feeling bad about my hangover Sunday 'Cause I didn't go to church, and I didn't find God

[Prechorus 1]

I brushed my teeth and my gums bleed It's like my brain don't work without coffee I'm paralyzed and it don't make sense I'mma get this off my chest, oh

[Chorus] I'm done talking, I'm just opting out Oh, we did it and we say we didn't and we're Slowly spinning around and round and round So much missing, no one listening now Oh, we did it and we say we didn't and we're Slowly spinning around and round and round

[Verse 2]

I lie awake and I worry in my free time About the shit I can't change but I still try Can't love my neighbor as myself And I don't think anyone would want my help, hey

[Prechorus 2]

I make a little more money, my heart's still broke Yeah, ain't that funny? Ain't done a thing that could get me up into heaven and I found the answers without any of the evidence

[Chorus]

I'm done talking, I'm just opting out

Oh, we did it and we say we didn't and we're

Slowly spinning around and round and round

So much missing, no one listening now

Oh, we did it and we say we didn't and we're

Slowly spinning around and round and round

[Bridge] I start and stop again Wonder if now and then It wouldn't hurt to be honest, honest One day I'll figure out There ain't much to fight about And you know without a doubt We're all the same

[Chorus] I'm done talking, I'm just opting out Oh, we did it and we say we didn't and we're Slowly spinning around and round and round So much missing, no one listening now Oh, we did it (oh we did it) and we say we didn't (say we didn't) and we're Slowly spinning around and round and round (can't stop spinning around) Slowly spinning around and round and round Slowly spinning around and round and round Slowly spinning around and round and round Slowly spinning around and round and round

Arrangement

NOTE: Considering my screenshotting abilities are quite poor, the labels displayed in this picture are quite small

As previous mentioned, the vocals and lyrics in this song are quite emotional and this remix tends to focus on those and work around them. Although this song has a drop, it is not intended to be a dance style track.

The song begins with a vinal crackling sample as an ambient synth fades in. A riser also joins in to lead into the first verse where the vocals and piano join in. Both verses and prechorus' throughout this song are actually conjoined as together they run for a total of 8 bars. This then leads into the chorus which is also the build-up in this remix. The chorus is where the action starts happening in this remix as the generic trap style snares and hi-hats begin to make an appearance. The vocals also gain harmonies and backing in this section to really build to a climax where the drop occurs.

The drop of the song utilizes a lot of vocal chopping and sampling from the lead vocals of the track whilst combining them with bass and a synth and piano chord progression. Funnily enough, the kick in this track is nowhere to be found until this section comes in, which really gives the track a place to lift off from. Furthermore, in case you thought this drop couldn't get any more wacky for a trap style drop, as a substitute for the kick, the hi-hats are non-existent in all 3 drops throughout the track. However, right in the middle of the drop everything stops but the vocal chops which joined by a slight riser to lead into the second half before the second verse begins. This section lasts for 8 bars then immediately jumps into the second verse.

Unlike the first verse, the kick, snare and bass carries over to keep the groove from the drop running through so the listener doesn't lose interest. The hi-hats also rejoin the mix in this section and remain all the way through to the drop (as usual). Furthermore, although it may be subtle, the ambient synth from the intro of the track also makes another appearance and sits just underneath the main elements of the song. However, it doesn't sit far enough underneath that its not noticeable. It does seem to be volume automated though as it seems to fade in and out throughout the course of the verse through to the second drop.

The only noticeable difference from the first prechorus and chorus that is obviously noticeable is the percussive elements such as the kick, snare and hi-hats combined with harmonies to aid the lead vocals. The bass is not present in the prechorus but does join back in on the second chorus/build-up. This then leads into the second drop which is completely identical to the first. This section then leads into the bridge of the song which also lasts for 8 bars.

The bridge of the song is mainly comprised of lead vocals along with harmonies and backing which is aided by the guitar and kick. The ambient synth also becomes more obvious here to give off that emotional feel to the track. Once the bridge comes to an end, the reverb on the vocals is emphasised and the riser makes another appearance to lead into the third and final chorus.

The third chorus is very similar to the other two choruses in terms of instrumentation however, the vocal chops begin earlier than usual in the build-up with a lowpass filter attached so they aren't as obvious. This filter then releases once the final drop occurs.

Unlike the previous 2 drops of the track, this drop includes vocals, harmonies and backing vocals as it brings the track to a close. Other than that, its still identical to the others. Once the drop ends, the guitar and ambient synth lead the track out and the tail of their reverbs bring the track to a close.

instrument breakdown

substantive

The substantive elements used throughout Pilton's remix of 'Round & Round' are as follows:

• Lead Vocals

• Harmonies

• Guitar

• Piano Chords

It may be obvious but the main guidance throughout this track is the vocals which are then supported by the guitar and piano chords. The harmonies also come to assist the lead vocals in certain sections throughout the track. Although there are many musical elements in this track, the guitar in particular always seems to hang around when everything else stops and is usually accompanied by the piano. However, this is not always the case.

Ornamental

The ornamental elements used throughout Pilton's remix of 'Round & Round' are as follows:

• Percussive elements

• Vocal chops

• FX

• Backing Vocals

• Bass

• Ambient Synth

Funnily enough, for the first third of the song, percussion is almost non-existent. However, it becomes a more important aspect later on in the track. The first major point for the percussion throughout the track is the first drop as this is where it is first introduced and also carries on from.

Similarly to the percussion, the vocal chops are also introduced in the drop however, they are relatively exclusive to these sections. With this being said, they are also a very important aspect as most people who listen to electronic music remember a track for the drop. This ornamental element is at the top of all of the others as it is what makes the drop unique.

FX are also very important as without them, certain aspects of the song can seem rather dry. However, there are parts of a song/track that do not need them. Producers when making tracks need to be aware as to how much of any effects they are applying as it can sometimes be too much as make the track seem empty.

The backing vocals in this remix are not as important as they are a rare appearance compared to the harmonies. However, this does not mean that they should be left out as they came in handy in the final drop of this track to really emphasise the emotion of the original lyrics.

The bass is always an important aspect in any song no matter the genre as without it, there is no body or 'core' of the song. The bass in this particular track makes in entrance in the first drop and carries out through until the second chorus. From this point on its main duty is to re-enter the mix when climaxes build or if the track needs more emphasis or 'oomf'. This can usually be seen in the drops as well.

Finally, the ambient synth isn't an overbearing element but it does give a nice touch to the song. This was one of the main elements that made this remix unique as it was one of the first elements introduced in the track at the beginning.

Summary

Overall, Pilton's remix of 'Round & Round' by The Spacies was a beautiful piece of work and really succeeded in emphasising the emotion of the original song's lyrics. By utilising just the right amount of electronic production elements, Pilton was even able to succeed The Spacies original version of their own song. This was not without reason though as Pilton took advantage of every opportunity to add his own spin to the work and really showcase his talents.