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 Single by Ryan Ross Hernandez and Ellie-Grace Summersfrom the album Amongst the MadnessTitle: All In Released: July 23, 2021 Studio: Capitol Studios (Hollywood, California), Oro y Plata Studios (Livingston, Montana) Genre: Disco, pop, synth-pop Length: 3:41 Label: Studio 60 Records Songwriter(s): Ryan Ross Hernandez, Ellie-Grace Summers Producer(s): Ryan Ross Hernandez, Ellie-Grace Summers "All In" is a song by American singer-songwriters Ryan Ross Hernandez and Ellie-Grace Summers, taken from their forthcoming joint album, Amongst the Madness. The song was entirely produced and written by Hernandez and Summers, with the duo playing all the instrumentation as well. It was released on July 23, 2021, as the second single preceding the album, via Studio 60 Records. The title was first revealed as part of Hernandez's freeform writing piece on the New York Times, with the official artwork shared on Twitter by the singer a week later on July 16, 2021. Both artists teased the song across their social media platforms prior to a formal announcement being made. On July 21, 2021, it was presented as the next single, shared on Instagram by Summers and Hernandez. "All In" is a disco-pop song with a heavy presence of upbeat synths, dreamy keys, and thumping drum loops mixed together with real drums and percussions. Lyrically, it describes a couple's early stages of falling in love, sharing both the romantic thrills and fears they have of opening up, showcased in a back-and-forth dialogue between the two. The song features references to gambling and casino games, which were prominently found on Summers' third studio album MANTRA. Summers described the song as "very playful and sultry", while Hernandez called it a "modern day love letter" to the music from the 1980s. It follows in the overall story originally introduced on "Company Amongst the Madness" detailing a fictionalized relationship, which has been alluded as being the overarching on their upcoming album. Studio 60 Records has confirmed that the song will have its live debut on July 28, 2021, when Hernandez and Summers perform it on The Tonight Show with Jimmy Fallon. Due to the ongoing COVID-19 pandemic, the performance will be pre-taped from a remote location. Pictures started to circulate online shortly after the song was released of Summers and Hernandez on a set in Los Angeles, hinting at a possible music video being shot for the track, although such has not been confirmed by the artists or their record label. Ryan Ross Hernandez wrote:"The most freeing aspect of working with Ellie-Grace is that nothing is ever off the table when we get into the studio. We can come forward and present a creative idea that may sound crazy on paper but we'll do all we can to make it work. This was originally a demo that she had created during the MANTRA recording sessions and she presented it to me when we moved production from LA out to Montana last spring. It was composed around this voice memo that Ellie had of herself singing over these gorgeous airy keys which ultimately became the chorus and everything around it came about organically from that. One of my favorite songs by E.G is "Monday's Love" and this song sort of lended itself to take that disco sound she's explored in the past and dial it up to 12. It's a modern day love letter to the 1980s."
"In the world we were trying to create for our characters, this song proved to be essential in that story. Fans will understand that better once they hear the entire project. Lyrically, it is about exploring the start of a relationship, when it's so fresh that it has no titles attached to it. The cache is pretty clean. And you're kind of in the space where things are going so good in the early stages that you don't want to crack the door open and let others in because that's scary. It's not realistic to expect that you can keep this bubblewrap around yourself and your partner, so it becomes a question of: do we take this leap together? Do we go all in on what could potentially be a bad bet? That's the risk you take every time you fall in love." Ellie-Grace Summers wrote:"This was a song that I had on the back burner for a long time. I had a very rough idea of what I wanted for the piece but couldn't quite flesh it out in a way I felt did justice the sections I already had penned. It felt rather lacklustre. To me, the song always sounded "big" in my vision; polished and lush arrangements, a very prominent story thread for the listener to follow, a tension and sound that builds through each verse and ultimately leads to a huge payoff when the track peaks. Nothing was working, however, so I just kept it aside for another day. I didn't want to force it just for the sake of completing it because I knew it wasn't going to live up to its full potential."
"Fast forward almost two years later and I present the song to Ryan. We had been working on the album for a little bit and at that point, I knew that we were headed in a very theatrical, grand, rather cinematic direction with the project. I knew that it was exactly the energy this song needed and so I presented him with the voice memo. Like always, Ryan and I just locked in and started snowballing ideas. I found that whenever we wrote for the project, we'd slip into the minds of these characters instantly. He would say something and I'd feel some sort of way as this woman I'm portraying, leading to me serving a line or a verse right back at him. This was definitely one of the least chaotic ones to piece together in the end. Despite having the element of fear and uncertainty when it comes to going official with a relationship, the overall vibe is still all very playful and sultry. Very cat and mouse. We kinda paint our characters as heightened versions of themselves, whether that be the bad boy or the little temptress. It's almost like they're purposely trying to talk one another out of it but the feelings and passion they hold for one another won't shake that in the end and, deep down, they're both aware of that." Upon release, "All In" received acclaim from critics for its songwriting and 1980s disco-pop production, many critics praising Summers' vocals. Cassandra Stewart of The New York Times predicted that the song had potential to become the biggest hit the pair release together due to its "unapologetic" pop sensibilities, specifically commending the chorus and referring to Summers' singing as "equal parts sensual and playful" with Hernandez following her lead "beat by beat." Pitchfork's Samantha Cunningham called it a "summer dance anthem" and stated that its polished arrangement lended itself to play in the current day revival of 1980s-inspired music. The same publication also gave it "Best New Track" recognition in their review. Kimberly Austin of Rolling Stone went on to compare the song to Lincoln and Eilidh's "Tears of a Dancefloor Darling" due to its similarities in styles, although Austin emphasis that "All In" has a "dreamy" factor to it that plays up to the "buttery" harmonies of Summers and Hernandez. Writing for GQ, Jacob Booker called the song "a beautiful reminder they are two of the best songwriters in music today", praising the duo for continuing to experiment with different genres and sounds while crafting a "well-rounded story." Forbes' Christian Hudgens wrote that "Ellie-Grace Summers is the highlight of the show" giving one of her "most memorable vocal performances ever." Heather Sandberg of Billboard said that "Summers and Hernandez are unafraid of stepping into new ground sonically, which in turn brings out the best in both artists and puts fans on a rollercoaster ride of musical exploration." Spin writer Allison Wainwright called the song a "safe bet that plays up Summers' strengths", while allowing Hernandez to take "a backseat and let her shine." Writing for Vulture, Jennifer Ramirez praised the song for its "smart use of vocoder effects" on its the pre-hook and bridge, and applauding the "DIY approach" that both musicians took in creating the song entirely themselves. In a more lukewarm review, NME's Chris Warner said "All In" was a "witty attempt at a breezy synth-pop bop" that does not capture the "timeless sound it aims for," going on to call it an "inoffensive, lite-version of "Forbidden Honey" by their friends and pop contemporaries Joshua Grimmie and Layla."
All InRyanEllie-GraceBothIt's 2am and we are spinning
Your phone is buzzing
There's no reply
A little secret to all our friends
'Til Friday night comes 'round again
We keep pretending that there's no one
Every time we're set up on a date
We find some silly excuse to avoid it
'Cause they just won't understand
And we don't know if we can survive the early evening hoursNow if you wanna play
Wanna play games with my heart
I can't blame you, darling
My game was known all over town
I used to play to come in first
I don't have the spirit for that now
If you wanna hurt me good
Please go ahead and do
My armor is on the ground
And there’s no going back nowWe never were the type to tread water
Always been a case of sink or swim
One last Hail Mary at the alter
Before putting the money where your mouth is
Not like we're placing our last dollars
We can go a few more spins
There isn't any time left to falter
I'm perched at the table, hoping you're all inBaby, this is a dangerous game
Though there's nothing quite like this buzz
Fingertips tracing over skin
Stealing little moments just for us
Hate to think that I'm a bare-faced liar
Just a great actress, impossible to call my bluff
My girlfriends keep holding my feet to the fire
But that's information I'm never giving up
This is something they'll never understand
And, honestly, I kinda like this upper handNow if you wanna play
Wanna play games with my heart
I can't blame you, darling
My game was known all over town
I used to play to come in first
I don't have the spirit for that now
If you wanna hurt me good
Please go ahead and do
My armor is on the ground
And there’s no going back nowWe never were the type to tread water
Always been a case of sink or swim
One last Hail Mary at the alter
Before putting the money where your mouth is
Not like we're placing our last dollars
We can go a few more spins
There isn't any time left to falter
I'm perched at the table, hoping you're all inThere are spectrums to this romance
And we're figuring out where we are
I know better than to hit on 19
Or go all in when the fight is rigged
But you're making me lose my inhibitions
My poker face doesn't work with you at the table
You're the queen of hearts
I'm folding my hand if you look my way
I'm giving up this game if you tell me you love meWe never were the type to tread water
Always been a case of sink or swim
One last Hail Mary at the alter
Before putting the money where your mouth is
Not like we're placing our last dollars
We can go a few more spins
There isn't any time left to falter
I'm perched at the table, hoping you're all in--- Comparable To:
--- OOC: As is the case with all of these, thank you to Sean/BrownSugar for the help on writing this song and for another badass job on the artwork. :)Edited by user 24 July 2021 06:01:45(UTC)
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