Joy Orbison / Overmono: “Blind Date” Track Review

Joy Orbison / Overmono: “Blind Date” Track Review


Both on their own and side by side, Joy Orbison and the brothers in Overmono have a knack for big-room anthems. Overmono cuts like “Le Tigre” and “So U Kno” strike the perfect balance between potent and pliable; credited to Joy Overmono, the collaborative production “Bromley” pulls off a similar trick. (Orbison, of course, pretty much invented the supersaturated, endorphin-rushing style that currently rules UK dance music with his 2009 single “Hyph Mngo.”) “Blind Date” is the first release from the three musicians since 2019’s “Bromley,” and it might cut an even more imposing figure than that song. Like its predecessor, it’s built around a snatch of vocals that’s been chopped into wordless delirium. But where they deployed the “Bromley” hook only sparingly, sending it tearing across the stereo field at unexpected moments, a tightly looped vocal snippet stretches across the length of “Blind Date,” like a particularly inviting expanse of shag rug. The real drama happens in the extended breakdown, when a more extended vocal sample goes sailing out over a void sketched by yawning, detuned synths. Oscillators whir; that hiccupping monosyllable pans desperately back and forth. It’s dizzying, vertiginous, practically a parody of festival-sized drama—cartoonish in the best way, like the moment Wile E. Coyote goes skating off the cliff’s edge and hangs suspended in mid-air. Then, bang, the downbeat returns, and everything goes plummeting giddily back to earth.

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