In case of the remix, I don’t even know why it exists, nevermind why it’s popular. In the case of the original, it’s mostly Mike Posner: no matter what the lyrics say, it’s still the voice from Bow Chicka Wow Wow telling me how hard his life is. So yeah, all versions of this song just suck. It still doesn’t need to exist though and doesn’t sound good enough to make up for that fact. It’s also much nicer to listen to than contemporaries such as Stitches (whose music is almost non-existent) and Lukas Graham (who’s still too hokey for my tastes). That said, I actually quite like the remixes’ sound: it has this nice half-club/half-ambient sound which reminds me of Lost Frequencies’ Are You With Me and improves quite a bit of the bland acoustic stylings of the original. I don’t believe Mike Posner’s original song but I can at least respect what it’s doing this remix is less than pointless, it actively refutes it’s own meaning. Why would you even remix such a song? Posner’s original lyrics took club tropes and manipulated them to satirical effect to then revert these lyrics back into a traditional club song just misses the damn point. 1 IS A CLUB REMIX OF A SONG CRITICISING CLUB MUSIC?!? 1 is the SeeB remix of I Took a Pill in Ibiza? And a world in which even the most uninspired of artists are paying lip-service to Post-Club values is a better world than one where they’re not.
I took a pill in ibiza seeb remix live cracked#
It does raise the very good point that a life of fame isn’t all that it’s cracked up to be, and the idea of making it an acoustic song with subverted club lyrics is very clever, if somewhat zeitgeisty. Indeed, I’m almost definitely being unfair on the song. Maybe I’m being unfair on the song though. It’s a brag song pretending to be the opposite I don’t believe in it. “Oh I live in a nice house with a manicured lawn and meet my fans in the streets and drive nice cars and have lots of money it’s horrible.” Bite me. When he mournfully sings “I’m living out in LA / I drive a sports car just to prove / I’m a real big baller cause I made a million dollars / And I spend it on girls and shoes”, it’s meant to be an ironic counterpoint which takes the hedonistic images of club music and turns them into empty icons of defeat but to me it just sounds like he’s still bragging about these things, only he’s doing it in a way that allows him to pretend he feels sad about it all. This sense of sneering that Posner cultivates feeds into I Took a Pill in Ibiza too. If I was that woman, I wouldn’t sleep with Mike Posner either. The only problem is that, by the lyrics own admission, the woman is someone who’s enjoying herself and has tons of interest from several other men while Posner is sat in the corner of the room, moaning to himself about how he’s not getting any.
This is particularly true for Cooler Than Me which is primarily composed of Posner moaning about a girl at a party who won’t sleep with him because she thinks she’s “cooler than me”. Now though, things have changed and so Mike Posner’s last hit is an underwritten acoustic whinge lamenting his wasted days clubbing in Ibiza (thus making this song pretty much a straight rejection of the ideology underlying every other song he’s released for a decade now).Įven with his inoffensive blandness though, Mike Posner still manages to be infuriating because if he does have a personality, then it’s one of a whiny self-involved douche. Cooler Than Me was released in the second half of the Club Age of Pop and had techno instrumentals, a cocky vocal delivery and an entitled set of lyrics which befitted pop’s self-aggrandising hedonistic nightclub ideology of the time. You can see this if you compare his biggest hit – Cooler Than Me – and his latest song – I Took A Pill in Ibiza – to the other songs that were popular when they were released. The reason for this is that the guy’s a pop culture chameleon: he writes whatever’s popular at the time in an actively inoffensive way, thus ensuring that a) unadventurous trend followers will buy his work in their millions and b) no-one will ever recognise the work as his because it’s lack of identifying features will allow it to disappear into the back of whatever party playlist it eventually becomes part of.
I promise you, most of the people who listen to this song on the radio will not know who sung it and will never realise they’ve heard another song by him. Mike Posner is one of those artists who’s regularly in the charts, yet has never produced a single note that anyone’s ever remembered. Mike Posner has written a Post-Club song. Previously on The Written Tevs: Pop music has moved away from being predomeninately Club Music to being what I refer to as “Pop-Club Music”, characterised by dour men whining against minimal synth/acoustic guitar accompaniment while women run around club shouting about sex.
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