Last minute re-production pays dividends but at what cost?

This record is a very positive note to start the new year and new decade on. Following the unexpectedly massive success of About Work the Dancefloor, Georgia returned to the studio to re-work much of the album following that response and this delayed the album release to 2020. We may never find out what the album originally sounded like but I hope we do. The record as presented is a great pop dance experience with more than a slight hint of Robyn among the influences. 

Singles released in the run up included Dancefloor, 24 Hours, Started Out and Never Let You Go. These 4 tracks form the opening salvo for the album and hit hard with their proven success from 2019. After this comes a suite of songs, some of which hit home runs as soundly as the singles while others flounder in themselves.

Mellow is the first track to find itself lost. The sound of this track might have been at home in the charts a few years ago but now simply acts as an attempt as a ballast to hold Georgia in the clubs as opposed to pop stages. The track sticks out as a thematic detour sonically going for a dark vibe which runs contrary to the rest of the record which holds itself credibly in the dance pop genre.

Til I Own It brings this records version of a ballad. There is so much in this that is tried and tested but is brought together in a comfortable track and a salve after the odd detour preceding it. After this tender moment things continue to get back on track with the very-much-album-filler but decent I Can’t Wait.

Feel It has an industrial quality to its rave-y nature and as with the other singles mentioned above stands tall in the track list. Ray Guns feels like a fun jaunt fitting between British R&B and house scenes – again one of the highlights that isn’t quite single-worthy. Ultimate Sailor creates a pretty oasis of calm between those tracks. As with much of the record it is wearing its 90s / early 00s electronic influences on its sleeve, not quite hitting the bombast but still hinting at the construction and melodies of that era.

The Thrill is hinting at deep house, and for me is a track that feels back to basics and all the stronger for it. Honey Dripping Sky then sees out the record well even if it feels a mash of ideas that maybe didn’t fit anywhere else at times.

The delay and re-recording of the album in response to leading single success set the alarm bells ringing. I am intrigued as to what the album may have sounded like and I think there are hints through-out. I get the sense it may have been a more traditional pop record with a more intimate feel than is on show here, where Georgia would have sought to demonstrate versatility beyond the heavier debut while not leaving older fans at sea (which explains Mellow).

Seeking Thrills ultimately fits within a welcome trend of records recently that bring female voices to male dominated arenas and more broadly, carving a niche on the edge of club culture bringing technicolor panache and commercial sensibilities to create very credible hybrids. Georgia’s latest would sit happily alongside Flume and the commercial end of Disclosure in any playlist or lineup.

Whatever it may have sounded like, the end result is a success, bringing even more tracks beyond the singles for any party playlist. The recreation seems to have paid off this time, but always beware bowing to public opinion, it is a compromise few with integrity would countenance as often audiences don’t know what they want and those who create to appease tend to fall flat on their faces.

Highlights: About Work the Dancefloor, 24 Hours, Never Let You Go, Feel It