There’s lots of people in this video, so I’m not completely sure which of them is the German dance musician. But I’d say this guy’s a fair guess…
[Video][Website]
[4.57]
Mallory O’Donnell: Tasteful crossover from one of Germany’s most venerable DJs, “Dont Look Back in Anger” is thankfully neither an Oasis cover nor hiding any trance leanings. Actually, for a pop mix of a big floor track it’s quite concise, albeit lacking any of the wobbly, yet somehow classy gleefulness of the original mix.
[6]
Katherine St Asaph: From his video: “As further proof of his enduring talent, he returns with a new single, sounding as fresh and cutting-edge as ever.”
[4]
Martin Skidmore: Is he still going, or restarting? The string flourishes early on here remind me rather of “The Final Countdown”. Otherwise it’s mid-paced techno/house, slickly done, but the song is sadly vague and aimless, and the singing unexciting. I wanted to like it more than I do.
[6]
Jonathan Bogart: Normally I would consider it part of my due diligence to check and see if this is a cover of the Oasis song (which I’ve never heard), but whether it is or not, it’s techno that Oasis fans can embrace, which means it’s one-note, thudding, and stupid.
[2]
Maura Johnston: The opening had me hoping this was going to be some sort of icy-synth Oasis remake. Alas, it’s not even that interesting; instead we have a bunch of effects piled on top of one another, then presented as a formless song that seems made for transitioning between two big huge hits by a DJ whose mix is commandeering the speakers of a club that I probably wouldn’t be able to — or want to — get inside.
[3]
David Raposa: Fair warning to any readers that think I know anything about anything, but to my untrained ears, this is just long-lunch punch-the-clock techno that’s pushing all the required buttons (Come Up / Come Down / Beat Drop / Diva / Piano Outro) except the ones that get me moving (or at least force me to consider the possibility of motion).
[5]
Frank Kogan: I’m not the one to judge how successfully functional this is, since the function this music adorns isn’t my function; but out of the rave context this seems as if it could have been a nice gentle ditty, mildly melancholic, that didn’t need to be lifted up by an ocean of sound.
[6]