If you’ve been following me on Twitter, Instagram or Facebook, you’d likely know that this week has been insanely busy for me, as i’ve been covering the Northside Festival in North Brooklyn with my dear friend and colleague, Natalie Hamingson. But that’s part of the life of a busy blogger, after all. In the meantime, there’s work to be done. 

Now, if you’ve been frequenting JOVM for a while, you may remember coming across a post about the Danish production duo, franskild. Comprised of Love Ojensa and Tim Söderström, the duo have quickly received international attention for  a sound that Mixmag has described as “melancholic, dreamlike house music.”

Their latest single “Keep on Going” was written in a tiny Copenhagen studio space with Ojensa and Söderström’s close friend Gustav Pettersson, whom the duo says possesses “an extraordinary feeling for melody and an amazing voice.”  Ojensa and Söderström add “The process of writing the song was quite quick. Our goal was to a do a super atmospheric song to dance to. We laid down the track and once we had the hook/chorus everything fell into place.” And the duo’s description is rather apt as the song is a rather breezy house track consisting of shimmering synths that evoke a euphoric, cosmic glow,  percussion led by hot flashes of cymbal, swirling electronics, warm blasts of piano, Petterson’s sinuous vocals floating over the mix, and an incredibly infectious and hopeful chorus/hook in which Pettersson simply sings “I will keep on going/I keep on going on . ..  ”

The track possesses the sort of eutrophic uplift that would not only have everyone in the club dancing but shouting along lustily to the song’s chorus/hook. Recently, the duo released a version of the song with a radically different production flourish that slows the overall tempo of the song down; in fact, it’s an icily minimalist production consisting of skittering percussion, slowly cascading synths and ominously, swirling, atmospheric electronics. The mix is sparse enough to allow the vocals to float through the production in a way that’s eerily ethereal; it pushes the song closer to sounding like Beacon’s impressive For Now EP and The Ways We Separate