We’ll always run a picture of the singer if she has her hair in a tight bun. Sorry Yogi.
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[6.29]
Katherine St Asaph: What’s this, a dubstep when-the-levee-breaksdown? You’ve got to admire the maximalism of this, as if nothing on the musical landscape couldn’t be improved with slabs of C4 and no emotion could register without being thrust through a megaphone. Any piano plink and any platitude can sound cavernous.
[8]
Michelle Myers: Elegant how the weighty piano chords blend into the slippery bass-synths. Too bad that bass never drops. Anti-climax is frustrating.
[4]
Jer Fairall: “Epic,” it seems to me, is something it would be hard to truly fuck up, especially when one has such mammoth synth strings and a title like “Follow You” at their disposal, and yet here it is.
[3]
Brad Shoup: This one’s a woozy ‘stepper, a true vertigo-inducer. I think I’m responding mostly to the uncertain terror of the chorus, those landscape-erasing synths, and the recurring, mocking handclaps. At a shade under three minutes, it doesn’t outlast its welcome, although those crows kinda push it.
[8]
Edward Okulicz: I like how the piano line reminds me a bit of Kylie Minogue’s unsung “Too Far” and how Ayah Marar’s voice is this big, menacing siren on top of it. Pounding, dramatic, forboding, longing, brooding; “Follow You” is a genuinely emotional dubstep-influenced banger.
[8]
Michaela Drapes: The murder of creepy trance crows and the ominous “Clocks” of doom quotation prop up this strangely affecting stalker dirge, a slow-as-molasses, dazed bookend to Katy B’s “Witch’s Brew”. Don’t go casting love spells you know are bad news; they’ll come right back at you in a pitched-down haze of unfortunate consequences.
[6]
Alex Ostroff: This is one of my favourite singles from the genre in a while. The bass manages to retain a sense of weight without dominating the entire track, and the piano line adds an insomniac quality not dissimilar to Jackie Chain’s “Rollin’“, enhancing the impact of the vocals. The opening lines make me wonder why dubstep vocalists always seem to overenunciate, but otherwise Ayah displays admirable restraint in comparison to Nero, for example. It’s a [7] in my living room, but with a couple of drinks in my system, a proper soundsystem, and a club full of people, it’s probably higher than that.
[7]