PS: y’all ain’t Eisenstein either.
[Video][Website]
[7.67]
Alex Ostroff: Full and determined where “Go” was reserved and mysterious, Delilah continues to go dark. “I’m chasing my tail whilst you chase your dreams” creates a striking disconnect between her vocals and the swoop of the strings and drive of the drums — and that’s one of the milder moments in “Love You So.” The quest might be fruitless, but it’s one of her own choosing. “You own a lifetime of woes but they ain’t mine,” is a lesson we could all stand to learn, but especially those artists who romanticize futility and heartbreak. The rest of the track turns on the aching delivery of that moment, and she nails it.
[8]
Katherine St Asaph: “Love You So” is both more conventional and more disjointed than “Go.” The strings would clash with the bass and the percussive mess if they all weren’t recessive, the a cappella bit at the end isn’t quite earned, and the lyrics are mostly empty non-elaborations on the title. It’s about eight ideas from an artist who did one so well; what’s been crowded out is what would make this completely work.
[7]
Iain Mew: If it wasn’t for the potential confusion, this should really just be called “So.” It’s the breathless repetition of that word that it centres around. It’s intense very in different ways to “Go” though. That had tension through minimalism, this concentrates its tension in the anguished lyrics (“I’m pointing a gun towards my oldest friend/I’ll carry a heart ’til the bitter end” — wow). Musically it goes with powerful strings and thumping drums, and Delilah if anything does an even better job with that than she did with “Go”. Really interested to see what else she can do.
[8]
Alfred Soto: I have trouble when dance-trance singers go all respectable, especially when in Delilah’s case “Go” was its own defense. The drums debuting at the 1:55 mark and the repetition of “and so” are the highlights in an airless production and performance.
[6]
Brad Shoup: She’s prying those vowels open with a crowbar, but if it gives rise to alternate hearings (I’m hearing “light up the sun” on the refrain), so much the better. It’s just one characteristic this song shares with Lana Del Rey’s “Blue Jeans”. Others would be the hefty buzz of the bass, those cradling strings, a little enjambment, and the occasional reflexively callow phrase. In fact, the similarities are freaking me out; maybe scoring this higher than “Blue Jeans” will alleviate my confusion.
[9]
Jonathan Bogart: More high-drama, exquisitely-phrased dance-noir from Delilah; if “Go” sneaked its way into my favorite songs of the year, this is battering its way in. When’s the album out?
[8]