Wilkinson - Cognition [Sleepless Music]

Welcome to my seventh album write-up! I apologize in advance for the wall of text that is about to follow. Scroll down for a TL;DR on the LP.

Background

Before we get to any of the actual music, I'd like to give you a bit (slight understatement) of a background into how DnB superstar Wilkinson got to where he is now. Where did he come from? Where did he go? What does he know? Does he know things? Let's find out!

Early Life + First Steps (1989 - 2012)

Wilkinson, first name Mark (oh hi), born and raised in South West London, has always lived a life full of music. After his parents gifted him his first drum kit at age 9, it didn't take long for him to join a few bands and share this blossoming musical talent with the world, with venues ranging from Birmingham NEC to the old folk's home. While he certainly already showed promising talent, Mark's marks just weren't quite good enough for the 'gifted and talented' music production courses at his school. However, he didn't let that stop him, and with a whole lot of convincing he managed to attend a session. You could say he willed himself into the course. Willed-kinson. My perfectly normal sense of humour aside, that one session was already enough for him to get hooked. He started out creating loads and loads of Breakbeat "nonsense", as he likes to call it, until one faithful day he received a brand new DnB mix CD. Let's just say the rest is history.

... You really think I wouldn't want to explore that history, just like that? Come on!

His first few productions were all done in the college studio, however eventually he managed to convert his bedroom into something workable. Now that he could live out his obsession with producing music even more it only made sense that he managed to score straight A's in production. However, his dedication to the craft was also so strong that he didn't have time to study for Music theory, earning him an E. I'm sure he regrets that a lot now. Another little while later he managed to secure himself a studio of his own outside the bedroom, still very much in walking distance though. I wonder if his mum called him Walkingson. Under his own name, i.e. Mark Wilkinson, he then finally put out his first ever release in 2009: The Blood Diamonds EP. It only took him one release to figure out that that name is sadly already used by quite a few people, most notably including a House DJ and a singer-songwriter, so he changed it to the more succinct Wilkinson from then on. That he's now sharing a name with a chain of hardware stores was something he didn't just anticipate, even a decade later he still loves to respond to confused people on Twitter complaining about not being able to find a good mask at the store.

During all of this he was in steady contact with Mr. Cyantific, to whom he sent tune after tune, which he was so keen on that it didn't take long for him to redirect them straight to Hospital Records. As you can imagine, they also really liked what they heard and soon after Wilkinson celebrated his debut on the label's Sick Music 2 compilation with Hypnosis. In that same year, 2010, he also sent a folder of tunes through to RAM Records, leading to a personal phone call with the one they call Andy C. I of course also call him that, I don't know why I said they. Of course Andy saw (C-aw?) the talent in him. Not only did he offer him the chance for his track Scream It to be featured in the legendary Nightlife 5 series with a preceding release on RAM, he was also offered a full-on label deal.

Fun fact: He made a deal with his parents that if he doesn't secure a record deal by the time he was 21, he would give up on the whole drum and bass thing and go back to working at the garden centre. Guess when he signed the RAM Records contract. One month before his 21st birthday. The german word for a flower that is pretty much dead is "welk", so if he actually went back to the garden centre job, he could have called his music career Welkinson. I'm glad it didn't come to that though, and not just because of the stupid pun.

Bad Puns Included (2011 - 2014)

With all the bureaucratic label stuff out of the way, Wilkinson was finally able to shower the world with music in 2011. Every Time he Pistol Whip'd the dancefloors with a new release, whether he was Getting Into It with Cyantific or making an example of Example's Midnight Run, the scene got ever so slightly closer to an awesomeness Overdose. Not only were his bombastic productions Reaching Out to legends of the scene like Nero, he even made some Time for a remix for Chase & Status' No More Idols. He went even further though, with Tonight he was even able to snatch his first playlisting spot on BBC 1Xtra!

Even the D&B Awards couldn't deny the shockwaves that Mark was creating and awarded him Best Breakthrough Producer at the 2012 ceremonies. As yet another sign that he had fully arrived in the scene, he joined the CYN Music Group, Cyantific's label, together with SNAPCLICKER as a "frequency & sonic amplification advisor". I wish my job title sounded that fancy. With said cyantist he also went on his first U.S. tour and a bit later even got his first taste of the Land Down Under. To top it all off, he closed the year with the first single of his debut album, Need To Know / Direction. Even better, Need To Know, which features IMAN (no U) on the vocals by the way, was picked up by BBC Radio 1 just two weeks later, giving this first album single a tremendous push. At this point, the only direction was up!

This first big push turned into an avalanche with the follow-up mega-anthem Take You Higher (it's as if the track was talking about Wilkinson's career) and, right before the album dropped, the one and only Afterglow with the wonderful Becky Hill. Not only was this one incredibly popular on the music video front, with multiple million views in just a few weeks, and managed to climb up to #8 in the official UK charts, it also quickly became the track everyone was singing at festivals and just DnB raves in general. It's nearly 10 years old and it's still being played everywhere. But I don't need to tell you that, you know that. In cooperation with Virgin EMI and with a big launch event at Brixton Academy even featuring some live pianos and live drums, the album Lazers Not Included was then finally released in full. Aside from the aforementioned bangers, it also included tracks like Half Light with Tom Cane and Heartbeat with P Money.

Hypnosis? More like Hyp-yes-sis! (2015 - 2018)

He didn't stop for one second though. He felt his creative udder wasn't empty yet, so he just kept milkin'. I'm only bringing up this rather unusual analogy so I can call him Milkinson, okay? Even Andy C was quoted as telling him "what the fuck are you doing mate?", which is a quote I'd most definitely want to frame if I were him. Not only did he do some TV and production projects for other artists and a remix for Ed Sheeran, he was also still motivated enough that he publicly floated the idea of a Lazers Not Included 2.0 LP. However, relatively shortly after he scrapped those lofty plans in favour of the Extended Edition we got instead. Still, another respectable 6 new tracks were added, consisting of Dirty Love and lots of remixes and VIPs. This wildfire of an album didn't go unnoticed at the annual award shows either: Smash-hit Afterglow won Best Track and Best Video at the 2014 D&B Arena Awards and the D&B Awards presented him with Best Producer, Best Single (for Afterglow, of course) and Best Album.

After this rather tumultous time, however, things did quiet down a little. A lot of this time was spent on a single that just didn't want to work out the way Wilkinson wanted: Hopelessly Coping, featuring THABO on the vocals. In 2015 he finally managed to put it out there, but except for his remix for The Prodigy, which was pretty noteworthy to be fair, and Breathe, the first single for the actual second album and actually also quite a big tune, not much else happened that year. Quality over quantity, I guess. The following year the mysterious second album started to take shape, with more and more album singles coming rolling in: Flatline with Wretch 32, Sweet Lies, Brand New, What, all culminating in the release of the Hypnotic album in 2017! According to Wilkinson, this second long-player was the first time he had the opportunity to write the album as a whole instead of the compilation of songs that was Lazers Not Included. Fun fact: This LP earned him fans like Zane Lowe, Skrillex and even a certain Elton John, of all people.

Decks Not Included (2013 - now)

Let us take a brief detour, let's jump back to 2014.

Wilkinson had just performed as one of the only DnB acts at a major festival. One thing that stood out to him was the amount of time and the huge effort that went into the live process of other bands and such. "I want to be a part of that", he thought and decided in that moment to include more live elements into his show. This started with live vocalists performing certain big tunes with him, like Becky Hill coming on stage for Afterglow or performing certain piano parts live, but things only really started to get going when he met live sound engineer and musical director Pete Thomas in 2015. From then on, more and more elements were put into the hands of live musicians until one day the Wilkinson Live Band was born! Let's hope the 2019 article I'm sourcing this from isn't outdated on this one already. Presenting, the current line up of the Wilkinson Band: Wilkinson on keyboards and sample triggers, Tom Varrell on guitar duty, Alex Todd on acoustic and electronic drums, and finally Jem Cooke, Shannon Saunders, Simon Youngman Smith and Adam Brown aka Ad-apt on vocals.

Fun fact: Wilkinson is an incredible perfectionist when it comes to these live shows. Anything that this talented ensemble isn't able to replicate 100% in real life by themselves, for example some of the drum frequencies or the bass in general, is crafted in combination of an Ableton Live backing track. That's not all though. Instead of the typical live band experience, where the musicians have a set list that they go through one by one, Wilkinson wanted to go one step further and give the audience an experience as close to a typical DJ set as possible. Just with instruments instead. To achieve that lofty goal, Wilkinson first prepares a DJ mix, which is then directly transformed into band format. The band member don't learn songs, they learn a whole set. Every single transition has to work perfectly. Wilkinson's feedback for the musicians is also so meticulously detailed that sentences like "Take out 500Hz and boost at 1000Hz." aren't even that much out of the ordinary. What happens when an instrument just breaks, you ask? Don't worry, he has thought of that too! Every part in this composition can be replaced by the Ableton live panic backup tracks on the fly. No wonder these cost 20.000 pounds per show.

This was a triumph (2018 - 2020)

Let's jump back to the time after Hypnotic again. It was 2017, the summer of collaborations. Not only did Wilkinson work together with Dimension for the first time on Rush, but since Mr. flamethrower was also throwing it down with Mark's RAM buddy Sub Focus at the time, Wilkinson thought, "hey, why not get him in the studio too"? The end result of that particular first spark was Take It Up in 2018, but behind the scenes that spark had turned into a whole wildfire of creative energy! Through their shared love of beautifully serene electronic music by the likes of Jon Hopkins and Bonobo, they got to thinking: Why not try to transport that otherworldly feeling into DnB? Why not create an album that's (sub)focused on the listening experience at home, instead of the club? Open portals into a different world? Just like that, the idea of their collaborative 2020 album Portals was born.

Right from the start they knew they couldn't just do everything normally for this experiment though, they wanted to incorporate a more organic sound palette and for that, they decided to venture out of the comfort zone of their own studios for a bit. More specifically, they locked themselves into Peter Gabriel's REALWORLD studio for a few weeks! Regular users of the studio include... checks notes... Kanye West, Beyonce and Alicia Keys? Huh, did not expect those names. During their stay they managed to try out a whole slew of unique instruments, including but not limited to the actual piano Alicia Keys recorded her last album on (heard on Air I Breathe), that fun little synth on Just Hold On and a bunch of world music instruments. The studio didn't only give them a lot of new toys to play with though, it also connected them to other musicians staying in neighbouring studios, which occasionally joined the main studio gang consisting of Wilkinson & Sub Focus (obviously), live band guitarist Tom Varrall, producer John Calvert and singer-songwriter Tom Havelock.

Thanks to that weird thing that started in early 2020 they had a bunch of time to finish this masterpiece of an album up and since now suddenly everyone was only listening at home (I wonder why), it honestly couldn't have come at a better time.

Awakeinson (2021 - now)

After the better part of a decade at RAM Records, it was finally time to move on to different things for Wilkinson. Portals was already (mostly) released via EMI/Universal/Casablance, but that's not where he was ultimately headed. Planned since at least 2019, according to the Instagram page creation date, and named after his 2013 single (and 2019-2020 tour), it was now time for: Sleepless Music. Since its creation in February 2021, Wilkinson used the label and A&R experiences he's built up since the early CYN Music days to release with artists like K Motionz, Krakota, Audioscribe, Montell2099, and, well, himself. It is now time to showcase the first full-length album of the still young label: Cognition!

Before we get to that I still got one more fun fact for you though: Dua Lipa's track 'Be the One' was originally going to be a Wilkinson song! Alright, on to the music.

Resources

Track Breakdown

Congrats, you've made it to the Track Breakdown!

1. Keep Dancing (feat. Amber Van Day)

We start this album journey with Wilkinson's simple yet powerful request to all of us during this trying time: Keep Dancing. For this, he assembled an exceptional team consisting of powerful British vocalist Amber Van Day, who you might know from her work with HUGEL or from the intro song of the german version of I'm a Celebrity...Get Me Out of Here! (not the crossover I expected, but I'm here for it), songwriter Autumn Rowe and legendary producer and regular collaborator Bradford Ellis. As one would expect from an introductory track, especially from a Wilkinson album, things start out innocent enough. While the beautiful instrumental builds itself up with ethereal strings, ominously looming synths going up and down and the most minimal of drums, Amber shows us just how breath-takingly good her voice can be. On the surface it might be about a love that can't be substituted by anything else on this earth, but considering, well, everything we've been going through these last two years, it's safe to say it has a double meaning here.

Wild theory alert: Not only is the track about the audience (nearly) all over the world still missing the days of regular raves, it might also be about the DJers missing the feeling of performing in front of a crowd. I can imagine the feeling you get when thousands of people chant Mr. Happy back at you is hard to beat. The closer we get to the drop, the more Amber's vocals are overtaken by a relentlessly commanding chant of Keep Dancing, almost as if Wilkinson is trying to tell us not to forget our favourite pastime amidst all this chaos. "This chaos" in this case of course referring to the real world stuff, but also to the bassy stomper of a drop that Mark is throwing at us here. As long as we still get bangers like these, I won't stop dancing, I promise you that Wilkinson.

2. Here For You (feat. Becky Hill)

From a liquid-turned-banger introduction to one that went all in on the beauty of it all: Here For You. This isn't any old liquid tune though, not that there would be anything wrong with that. This is the reunion we've all been waiting for since nearly 9 years now. The reunion with the voice you will have heard countless of times at any rave at any given point in time. Of course I'm talking about the legendary, just-won-the-Brits-award-for-Best-Dance-Act Becky Hill. It's been way too long, indeed. I could probably just leave it at that, because of course a Wilkinson X Becky Hill track is going to be an 11 on the beauty scale (from 0 to 5). But I won't.

Becky is in her element once again. The combination of her simply stunning voice and the wholesome lyrics are like a warm blanket for my soul. And boy, it has been cold lately. While the vocals by themselves are already an amazing nugget of beauty, Wilkinson once again shows his expertise when it comes to working with vocals, especially Becky's. Right from the start we're welcomed by a wonderful ensemble of strings, piano melodies and the inevitable clock ticking noise in the background. When the rolling drums come crashing down, paired with Becky's "I'll be here for you" and those damn pianos, I can't help but close my eyes and smile. I doubt it will be able to compete with Afterglow in the long run, because let's be honest, it's just too ingrained into the scene at this point, but Here For You certainly plays in the same league. Just gorgeous.

3. XTC (Wilkinson Remix)

Speaking of revivals, how about revivals of old 90s rave sounds? That's probably exactly what Eli Brown, also known as Xample (one half of Loadstar), and Solardo thought when they came up with their 2019 oldschool house banger XTC. Why am I telling you this? Well, shortly after its release, Loadstar started playing out a DnB remix of said hit at the Nocturnal Wonderland festival. You guessed it. Or maybe you haven't: It was Wilkinson's bootleg! Ever since then it was kept as an unreleased remix, while still regularly cropping up in various radio mixes and live shows of his. Now, three years later, it's finally out!

While it might at first be a little weird to have a remix for someone else on a solo album, it's also just such a banger of a remix that I can fully understand why it's here. Also, considering all the rave-sound revivals we've experienced in DnB these last few years, this comes at just the right time too. Simple, but effective.

4. If You Want It

Speaking of bootlegs that were turned into real songs, let's talk about If You Want It! Originally a bootleg of Childish Gambino - Redbone, If You Want It has now also been turned into a fully original Wilkinson track, after he personally reached out to Donald Glover and got the permission to do so. Man, am I glad he did that. While Wilkinson obviously had to speed up the slow funkey-smooth original to get to DnB tempos, he definitely managed to keep that chill-out vibe alive. The dreamy main vocal of the original, re-performed by iiola, is now floating on top of a Machina-esque wall of bass, which somehow manages to be as relaxing as it is massive. It's a track you can relax in the sun to and test your new earphones' bass capabilities with. It's like a massage to the ears, you know?

5. Used To This (feat. Issey Cross)

If you've followed the buildup to this album at all so far, you will know this one. Even if you don't even really know who the hell this Wilkinson fella is, you still might know it. After all, it's been climbing up the british single charts week by week and sits at #51 at the time of writing, with a whole lot of momentum behind it. It's Wilkinson's first chart entry since nearly 7 years, the last one being Hopelessly Coping!

So surely this is one hell of a danceable radio anthem, right? Well, not quite. It's one of Wilkinson's most releaxing tunes actually. Its buildup is mood-settingly minimal, with little to no drums and most of the rhythmic feel coming from a Xylophone-esque background instrument going round and round in 3D space. The drop? A composition of a snuggly-warm wall of bass, one hell of a clean snare and addictively rhythmic wubs. A great liquid track for sure.

What elevates it from great to amazing, from normal single to hit single, however, is the vocal. For this smooth-moody (smoody) liquid instrumental Wilkinson decided to ask Kent-born but now London-based up-and-coming vocalist Issey Cross. As soon as you click play on the track, you will realise it was an amazing choice. Not only is her soprano voice both so stunning and charming that you just want to close your eyes and vibe to it, there's also something about the way she's singing these love-themed lyrics that makes them stick in your head like crazy. I honestly can't stop singing along to it. Every single part of her performance is so catchy on its own it should be illegal already, and she threw like 4 or 5 of these in there, for god's sake! How is my brain ever supposed to recover from this?

It doesn't have to recover from it though. All in all, the track just makes me happy, like a hug by someone who I hold dear. Makes me feel all tingly inside. I could get used to this.

6. Release Valve

After all these feelsy relaxing liquid tunes, it's finally time for some dancefloor tunage again! On Release Valve Wilkinson straps on his astronaut helmet, invites us into his space vessel and takes us on a journey. We aimlessly drift through the vast nothingness of space, until suddenly the way too catchy synth space adventure main melody catches our attention. After that it doesn't take long until we switch into overdrive. Wilkinson pairs this fun bit of auditory storytelling with a vocal sample of a woman explaining this weird phenomenon of "raving" on the news, how it is like a release valve for these young'uns and all that. In other words, we are the astronauts! Just by listening to it I already got a clear vision of what a music video would look like, which is a huge sign that Wilkinson did something right here. Even if you ignore all that, it's also still a fun, really well-produced danceable banger at heart.

7. No One Else (feat. Kanine & Clementine Douglas)

You know what we haven't had enough of on this album? Dancefloor anthems. As luck would have it, Wilkinson and none other than DnB shooting star Kanine has prepared exactly one of those as our next course: No One Else. With the one and only Clementine Douglas once again smashing it on anthemic vocal duties, an uplifting buildup atmosphere to die for and a main hook that can be most safely described as a heckin' slapper, it's safe to say that the three of them went all in on this one. No One Else feels like it was made for festival season, a season that's not as far away as you might think. Even Rampage, which is just a bit more than a month away, is very hopeful that it can go ahead like normal. And that one isn't even in New Zealand or the UK! Of course now that I'm writing it out loud I'm probably jinxing it, but even if that one isn't happening, the months after that are gonna be filled with events. Events at which No One Else will surely be a staple at every big stage.

8. Close Your Eyes (feat. iiola)

Do we have any more of those beautiful liquid rollers in stock? Yes? Oh goodie!

Close Your Eyes is different from the liquid we've heard on here so far though. Not only are the vocals by Wiltshire-based vocalist Shannon Sanders, better known as iiola, so uniquely soothing in both lyricism and in how gently she performs it that it almost puts the listeners in a ASMR trance, Wilkinson also made sure to produce a mesmerizing instrumental to go along with it. A continuously rolling fast-paced yet mellow breakbeat loop guides the listener along this journey through your mind, while the rest of the composition does its best to soothe your brain as much as possible. Something it very much succeeds in, of course.

9. Feel So High (feat. SHELLS)

While we're in this dream-like state, why not continue on with even more vibes? On Feel So High Wilkinson pulls out all the good old Portals stops: A big focus on these lovely-dreamy-synthy bleeps and bloops, an almost ethereal atmosphere, the most smoothly-bouncing dancefloor drop ever and, most importantly, another Class-A vocal, this time coming from british singer-songwriter SHELLS. Everything about it is just like one big beautiful dream, but in song form. Or maybe my mind just goes there because she's literally mentioning dreams in her most-elegantly performed lyrics. If I was a turtle and I was able to go back into my shell whenever I want to hide away from the world, this track would be a very good soundtrack to that. Again, might just be because of the artist name involved. My uncreative analogies aside, this is one hell of a beautiful song.

10. Frontline

The track the scene had been waiting for for a long time, the track that kicked off the label, probably the most straight-forward dancefloor track Wilkinson has done in recent times. Let's talk about Frontline! What starts with just an ominously wobbling bassline and a simple 2-step rhythm, quickly morphs into an atmosphere reminiscent of odyssey into outer space. Before we get there however, the main hook of the track bursts right into our rocket cockpit and causes quite the ruckus, to say the least. Honestly, that combination of the annoyingly-catchy synth melody and the "everybody" vocal sample cut together just right to create its own little rhythm slaps more than it has any right to. An extremely cleanly produced straight-up banger is what this is!

11. On Your Mind (feat. Amber Van Day)

And the pendulum swings back to lovely vibes again! An angelic choir guides the listener into a field of blossoming flowers, prepared by florist Wilkinson himself, where a harp player is providing us with the right ambience for the delightful vocals we are about to witness. That's right, Amber Van Day returns for another performance. This time, however, she trades the anthemic style of her vocals on Keep Dancing for one that's way more charming and, I don't know, magical. Very much appropriate for the harp-driven instrumental. This isn't just a track that's lovely as hell, it's also one that rewards repeat listens. The more I listen to it, the more unique little details I spot in the production, like the clompy drums or the frog-like croaking that sometimes crops up. Like a soundtrack to a cute fairytale.

12. Believe (feat. Sharlene Hector)

The liquid-dancefloor pendulum strikes again! Yes, on Believe Wilkinson pulls out the big guns again. We are slowly introduced into this track's world with an atmosphere that's reminiscent of Turn The Lights Off, but soon enough Sharlene Hector, DnB's most underrated and most uncredited vocalist, pulls us away into anthemic territory, where they serve bangers every day, with a large portion of worshipstershire sauce on top. Not only is Sharlene absolutely killing it, as literally always, Wilkinson also cranked up his anthemic synthy dancefloor banger production up to 110%. The melody is catchy as hell, the bouncy dancefloor-guitars have such a strong bass to it that it's making my headphones wobble and each snare hits just right. Please, someone, play this one at a festival. Just imagining the crowd "po po po"-ing along to the melody gives me goosebumps. I don't just believe this is one of my favourites of the LP, I know it.

13. Fade Away (feat. Pola & Bryson & Jem Cooke)

Do you hear that? The war horns have been sounded. That's right, we have officially arrived at the closing track of the album. For this final piece of music Wilkinson has let the pendulum swing once more, landing on the supernaturally vibey Fade Away. With british singer-songwriter Jem Cooke cooking up some beautifully soulful vocals and his favourite producer duo Pola & Bryson bringing their signature wubs to the collaborative production, this one was just bound to be special. Fun fact: Because all the promotional material just said "Fade Away" everywhere, without any further features or credits, I thought this was a solo Wilkinson track. Obviously the Pola & Bryson sound very much stood out to me, but I explained it away in my head by saying he likes their stuff and just tried his hand at it himself. I even prepared a "Pola & Brykinson" pun. None of that makes any sense now that I found out it's actually a collab.

That doesn't detract anything from the absolute vibe that this track emits though. The aforementioned wubs work like a charm, the strings are used to great effect and we even got a whole lot of cowbells in here! My favourite part about it has got to be atmospheric switch from beautiful to dark and ominous that occurs when Jem Cooke's pitched-down "KEEP YOUR EYES ON ME" hits you. Magnificent tune this one.

Conclusion

So, what do I think of the album overall? Let me try and walk you through my thought process. As expected, given Wilkinson's perfectionist attitude and just his track record in general, Cognition has an amazingly high base level of production. The production on literally all of these tracks is as clean-cut as my face after using Wilkinson razor blades in the morning. Another big positive is Mark's razor-sharp talent (okay I'll stop with these now) for working with vocals, which he used to full advantage here. Obviously there's already a lot of raw talent involved, I mean just look at the list of vocalists again, but pretty much every part of every vocal performance on here works flawlessly for me. Writing, processing, how they are woven into the tracks, he simply knows what he's doing.

What surprised me is that every track was straight drum and bass. No halftime, no breakbeat or other genre experimentation, just drums and basses. Since Wilkinson successfully manages to keep up the constant balancing act between the two corners of his favourite subgenres Liquid and Dancefloor, it never really gets boring though. Even if the overarching lyrical theme is mostly some variation of love, each track still has its unique theme or vibe to it, either in its vocal style or the production or both. Sure, this won't blow your mind away with complex drum programming or weird otherworldly sounds, it is mostly very straight-forward. What the album might lack in weirdness though, it makes up for in extremely consistent razor-sharp production quality, vocal performances and vibes. A true pro at work. Had to say it one more time, sorry.

My favourites on the album are Here For You, because I have simply fallen in love with Becky Hill's performance on this and I've listened to it more than any other tune on the album, Used To This, because it's somehow still stuck in my head and probably won't leave anytime soon, Release Valve, because it's just fun as hell, and I Believe, because I can't help but love such a well-produced dancefloor anthem.