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TSTY ‘OVER YOU’ SINGLE REVIEW

TSTY

Perth based band TSTY recently said this to describe their sound: ‘Maybe if Paramore and Dua Lipa had a baby; that would be us… maybe…’

And that’s not such a stretch, especially when listening to their last single Broken, an alt-pop track that acutely blended pop and R&B and sprinkled it with some indie-rock edge, subsequently affording the band some healthy radio attention.

But Over You reveals a slight departure from Broken and one that perhaps is wise, both stylistically and professionally. The new single is a slick sounding reggae flavoured pop track that feels like a natural progression for the band without seeming like a conscious attempt at softening its appeal for the sake of mass exposure.

And sure there’s a smattering Dua and Ariana in there and perhaps to a lesser degree Paramore, but the new track just might be a preview of a form of delineating refinement for the band.

Working under the guidance of one of John Feldmann’s (The Used, The Struts, Good Charlotte) engineers, Michael Bono (Blink 182, The Hunna, New Politics) and having renowned LA producer Zakk Cervini (5SOS, Machine Gun Kelly, Yungblud) mix and master the track, the band was inspired to flex their creative muscles and Over You is the result.

TSTY, who are Chez Watson (Lead Vocals), Claudia Calabrese (Keyboard/Vocals), brothers Reece (Guitar/Vocals) & Caleb Lenzo (Bass) and James Papanaoum (Drums), met at a local music school in their hometown of Perth and have been writing, recording and performing together ever since.

Pre-order ‘Over You’ on Apple Music here…

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A defining feature of TSTY’s last single Broken was its full-throttled fizzing pop chorus, a high that was wedged between subdued verses and a contemporary R&B pre-chorus and Over You attempts to retain this characteristic of chorus supremacy but with a more restrained musical undercurrent.

Eschewing the indie rock elements of Broken for a less intrusive sonic presence works well for the kind of melodic direction Over You takes but for this reason the new track is also less immediately rousing.

Indeed the lead vocal performance is just as impressive and certainly on a par with any number of current global pop princesses’ efforts, but the song is an altogether different kind of animal; it cruises it doesn’t impose, it luxuriates in its own wealth of studio kinetics it doesn’t demand, yet it’s quite seamless and spruced: and no doubt these are just the kinds of tactical engineering feats needed to allow TSTY to not merely achieve a respectable chart placing but a notable form of media impact.

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