• Sublime melody accompanying the vocal
• Slower paced and subdued bassline
• Lack of nuances
The premise of the collaboration we are going to talk about had quite the anticipation before release, and why not? Perhaps this one was predicted to happen for a long time, since they both have led the Progressive House genre with equal flair. On one hand, we have Sweden’s top-tier figure Alesso, who has kept a fair share of dance music hits over the years. And on the other, DubVision, require no introduction. The said duo have specialized themselves in the business, and have churned out memorable productions. This team-up is nothing short of monolithic proportions, but is it a hastened return from the Swede hitmaker or does it actually match up to the hype?
After his significant début album “Forever”, Alesso brought a huge makeover to his sound. Trading his incredibly catchy festival hooks for commercial numbers, he slowly receded from his roots. However, the preceding year saw him enter the spectrum of electronic music with a renewed interest, ranging from the groove-heavy “Tilted Towers” to his recent House single “In The Middle”.
Meanwhile, DubVision haven’t slacked in either pace or quality, kick-starting the year with the idiomatic “Lambo”. While their super-group with METAFO4R may have been laid to rest for time unknown, the pair has nonetheless shown versatility with works like “Young Money”, while honing their endeared anthemic signature.
Basing itself in the rarer A-flat minor key, the forenamed instrumental strikes a chord with the melody. In the first breakdown, the subtle synths play out the chord progression, even if familiar and heard before, settles well and good with the appealing vocal. Using an arpeggiating cadence, this segment extends elegantly towards the main hook. With rather an abrupt change in the energy, the following section brings in the ongoing melody in a greater force. In all honesty, the set-up reminded us somewhat of the progressive spin on “Sad Song” made by Alesso, with a subdued involvement from the bassline. Mind you, we expected a full-blown usual blueprint since DubVision’s presence, which perhaps could have been a great throwback to 2015. Nevertheless, there is this strange dearth of finer details in the production. For one instance, the snare which materializes in the second half of the drop, seems somehow unsettled. Overlooking such technicalities, the song projects the sentiments effectively.
Does “One Last Time” satisfy us to meticulous extents? Yes and no. While the schematics leave much to be asked for, the composition, sure enough, grasps the listener, thanks to its alluring harmonies.
What do you think?
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