Baggy-esque indie-dance perfection, the epitome of an era. Psychedelic, positive, unbelievably groovy and danceable, with perfect beats and bass so solid you could trust it with your housekeys. Oh, and that fantastic Beatles sample from "It's All Too Much" (off the Yellow Submarine soundtrack), which serves here not only sonically but also conceptually: with the dense mixture of playful elements at work in this song, it really is nearly all too much. The suggestion of the original George Harrison composition's cartoonish, dreamy surrealism and ultra-saturated hues find fertile ground in the like-minded aesthetic played out in Intastella's group imagination, heady and triumphant. Although the Fab Four's sample itself is only a ten-second organ riff (and hence George Harrison's original vocals aren't directly present here), even the lyrical content of that sampled song echoes forward through the sunnily psychotropic lyrics sung by Intastella's Stella Grundy. Where George sings "when I look into your eyes, your love is there for me" in the original, Stella responds with "people, open up your eyes, get ready for a rise", imploring a generation to be receptive to wonder and love. Likewise, George: "all the world's a birthday cake, so take a piece, but not too much"; and Stella: "people, this could be your time, 'cause someone is bringing all your smiles". George: "It's all too much for me to see"; Stella's response: "You could be hypnotised". Intastella was transparently fully intent on picking up the mantle of The Beatles at their most starry-eyed: towards the end of the song, Stella even goes so far as to fly in the lyric "[People,] how does it feel to be?" from yet another Beatles song, "Baby You're A Rich Man", complete with original vocal melody. In both songs, the themes of eyes, life, sun, and opening to embrace everything in a utopian oneness pervade — though, to be fair, George's has a far more mystical and Eastern philosophical air to its visually imaginative poetry and, while, even when judged as generously as possible, Stella's lyrics here are vague and simplistic. Luckily, however, nobody was looking at bands of this era for lyrical dexterity — even celebrated wordsmith Damon Albarn of Blur's lyrics during this era had an oddly vague, sketchy, almost self-lobotomized vapidness to them. This single is a madly brilliant and relaxed synthesis of late-'60s retro and acid house future, as envisioned in the halcyon days of 1990, that blissful era when indie rock and acid/ecstasy club music copulated joyfully to create a world of musical wonder. Based on their first three singles alone, why this group hasn't been reappraised and held up for renewed critical appreciation twenty years later is far beyond me.

nice !

Thanks so much! That means a lot to me. :) Cheers!

A cracking review that mate! Perfect!!!!