We may not have been heard from over the festive gorge, though we were never not hearing. And granted, we’ve incidentally been subjected to more from Swansea’s 96.4FM The Wave thus far this year than we have from SoundCloud, Bandcamp, or owt else invigorating though that’s not to say that it’s been anything short of an informative induction into 2013. Personally, I reckon I could now most likely recite Britney’s every inessential interjection on Scream & Shout, or do the Flo Rida bit to Troublemaker. The modern toss also comes spunked in cruddy old junk in South West Wales, with New Radicals’ You Get What You Give or some Bon Jovi dross never more than a half hour away. In amidst it all, more often than not, was Gabrielle Aplin’s dare I say arresting rethink of Frankie Goes To Hollywood’s The Power of Love, proving that a schmaltzy cover version redone for a corny John Lewis Christmas ad isn’t necessarily just for Christmas. The song itself is kind of like the plastic stronghold at the core of the snowglobe – the unassailable, and indestructible citadel of its own intangible tiny world.
Other than those few minutes, I know next to nothing of Aplin, even after hours on end of this aforesaid pop exposure though Wikipedia duly informs that she’s this year to release a follow-up single, Please Don’t Say You Love Me. YouTube then relays an ambling ballad that’s so soft it’s almost as though it’s never there. That’s neither criticism nor acclaim – it’s just oddly nonexistent. The below remix, conversely, is just about as full-bodied as any DJ Shadow recording since, well, ever.
Coming in hard and fast from Vancouver via Switzerland, Cyril Hahn’s rework emphatically gazumps its inspiration and could therefore be considered an armada of flambé Christmas puds sprung comet-like toward Aplin’s once safeguarded polythene fortress. Oozing an almost boozy house throb, it’s the aural incarnation of a second helping of the 25th – a rich, and unhealthily addictive slob of a thing that’s about as far removed from its point of origin as the figure of any man, woman, or child pre- and post-festive period, with only a drastically contorted semblance of lead lyric “Please don’t say you love me/ ‘Cause I’m not gonna say it back” sticking about. That Hahn hails from Pablo Nouvelle’s native Bern only enriches the appeal yet further and by the sounds of it, his is already an intensely appealing allure.