Great Sounds Great; Bad Sounds Bad is a column which sees a panel of writers for The Corner review a range of local singles and grade them out of 10. Check out the song below, read through their opinions and let us know in the comments section your own thoughts and what you’d like to see reviewed next time around.
Adam Burns: After departing Midnight Youth in 2012, Jeremy Redmore went on to host some travel show which did the rounds on Air NZ – an awful image is already forming, band frontman-turned-globetrotting lone-wolf strumming his acoustic guitar for weary travelers and boozed up backpackers. This is not helped by the fact Redmore seems to mine the same nonpartisan singer-songwriter surfer vibe of Jack Johnson and Jason Mraz on the verses for ‘Bad Philosophy’, accompanied by a wordless hum which had me searching for Elliott Smith’s sign-off From A Basement On A Hill instead for comfort. With that said, I like how he brings things home, weaving some additional guitar, piano and a thin flourish of horns in an all embracing swoop – much like Midnight Youth, anthemic and inoffensive. Kinda sounds like Spoon on the chorus too! 
Nick Raven: Sweet and lively – a happy tune about something deep and close to our souls. I’m semi-surprised to find I like it. A high point is the guitar tone that comes in at 1.36! This is far removed from Jeremy’s Midnight Youth days which is fantastic. Not that Midnight Youth were totally awful, but just that Jeremy is moving forward as an artist. ‘Bad Philosophy’ is not overproduced, but it is an honest pop effort. I’m glad I’ve listened to it. 
Gavin Coughlan: It’s hard to talk about a song when it doesn’t really make you feel anything, either negative or positive, at first. Jeremy used to sing for Midnight Youth, which may have coloured my initial indifference to the song as that band were not my cup of tea.
But putting that aside, this song is certainly perky, perhaps too perky for my liking. It starts off pretty jaunty, and just gets more so until it all ends in a bit of a self-satisfied smug-fest. Perhaps I am just too jaded for such unbridled joy, but at least it is starting to make me feel something after a few listens. Unfortunately that ‘something’ is murderous rage. 
Michael Kerby: I liked to spot the influences in Midnight Youth songs, and the same can be done here. First up – we’ve got a gurning Jason Mraz thing going on, or maybe Bruno Mars in smell-the-fart mode. Then in comes some jaunty Sara Bareilles piano cack, and pretty soon the whole thing is coming over like Scouting for Girls. And that’s fine. Midnight Youth borrowed from all sorts of awful shit. Maybe he set out to combine the above influences into some hideous two-hit wonder monster all along. But then the brass band nonsense wades in and it dawns on me: he’s doing McCartney. This is what the Beatles sound like to Jeremy Redmore.
I liked it better when Jeremy Redmore was trying to punch the sun out of the sky with massive U2 ballads. Let’s hope he returns to his 80s pomp-rock roots and stays the hell out of the 00s on the rest of the album. 
Chloe Cairncross: The first half of the track reminds me too much of Jack Johnson. I hate Jack Johnson. I think it’s the upbeat, easy-breezy sound that makes me think I’m going to see Johnson appear from behind a mountain of sand with an acoustic guitar. However, the quaint piano injections kept me hooked. And then the song becomes something close to cool, with an electric guitar buzzing in for a brief appearance and all the stops pulled out for a rip-roaring denouement. Would certainly go well with a mug of coffee as an endorphin-booster on a crappy day.