I've Got A Feeling
Monaco
I’ve Got A Feeling is a 2000 EP by Monaco, the duo formed by New Order/Joy Division bassist Peter Hook and guitarist‑vocalist David Potts, issued as a companion release to their self‑titled second album. Centered on the anthemic title track—originally intended as the lead single from Monaco before sample‑clearance problems curtailed its UK release—the EP runs about 16 minutes and typically collects the single edit plus non‑album cuts like “Heaven 7” and “Barfly,” showcasing different facets of the band’s melodic, bass‑driven rock/electronic hybrid.
Musically, “I’ve Got A Feeling” leans into Hook’s signature chorused, high‑melody bass lines and a driving, dance‑rock rhythm section, topped by Potts’s emotive, slightly yearning vocal that sits somewhere between Britpop and New Order‑style synth pop. The accompanying tracks on the EP pull the sound in moodier and more atmospheric directions, with layered guitars, synth textures, and mid‑tempo grooves that underline Monaco’s interest in marrying club‑ready pulses to introspective lyrics. In retrospect, the release is often treated as a compact snapshot of Monaco’s late‑’90s/early‑2000s aesthetic: hook‑laden, bass‑forward indie‑dance that stands apart from but clearly echoes Hook’s work in New Order.
I've Got A Feeling
Monaco
I’ve Got A Feeling is a 2000 EP by Monaco, the duo formed by New Order/Joy Division bassist Peter Hook and guitarist‑vocalist David Potts, issued as a companion release to their self‑titled second album. Centered on the anthemic title track—originally intended as the lead single from Monaco before sample‑clearance problems curtailed its UK release—the EP runs about 16 minutes and typically collects the single edit plus non‑album cuts like “Heaven 7” and “Barfly,” showcasing different facets of the band’s melodic, bass‑driven rock/electronic hybrid.
Musically, “I’ve Got A Feeling” leans into Hook’s signature chorused, high‑melody bass lines and a driving, dance‑rock rhythm section, topped by Potts’s emotive, slightly yearning vocal that sits somewhere between Britpop and New Order‑style synth pop. The accompanying tracks on the EP pull the sound in moodier and more atmospheric directions, with layered guitars, synth textures, and mid‑tempo grooves that underline Monaco’s interest in marrying club‑ready pulses to introspective lyrics. In retrospect, the release is often treated as a compact snapshot of Monaco’s late‑’90s/early‑2000s aesthetic: hook‑laden, bass‑forward indie‑dance that stands apart from but clearly echoes Hook’s work in New Order.