Now the monumental question: [nεt∙skαı] or [nεt∙ski]?
[Video][Website]
[5.38]
Will Adams: Before I listened to this, I asked myself, “How much you wanna bet this is gonna open with some pitch-shifted, reedy soul sample that repeats the title followed by some trance-laden drum ’n’ bass?” On one hand, I don’t believe music should be this predictable. On the other, this makes me want to go running.
[6]
Iain Mew: Forlorn chipmunks and tectonic drum ’n’ bass play off against each other – neither would be impressive on their own but the effect of equilibrium between the two is pretty neat.
[6]
Alfred Soto: The pitch-accelerated sample is as predictable as humidity in August, so I looked to pleasures where I could find them, mostly in the keyboard department, like the ominous synth patch at the 2:10 mark.
[4]
Anthony Easton: The unicorn and glittery pink cloud instrumental break almost literally ramps into euro-noise and robot ennui, like the fruit layer at the bottom of slightly bitter plain yogurt.
[4]
Katherine St Asaph: Coffeeshop music for coffeeshops that get overrun by neon-faced ravers at 11 p.m. How many niches are even left to soundtrack?
[5]
Patrick St. Michel: There isn’t much here — drum ’n’ bass percussion, some big ol’ synth, an L.T.D. vocal sample — but during the four minutes it plays “Love Has Gone” is an energetic blast. I’m also sure that, like a lot of this new-fangled EDM stuff, it’s a lot of fun to dance to in a club.
[6]
Brad Shoup: Needs more drum ’n’ bass. Or the portion it has ought to be louder. Less kicking the phrase into a corner, and perhaps the dread synth draping could have been folded in on itself? A leadoff track with a second-half feel.
[5]
Jonathan Bogart: Could have used a MASSIVE DROP to drive the point home, but still a very cheerful and manic two fingers to the slowly crystallizing classiness of drum ’n’ bass. Sugar-rushing preteens running around an oddly deserted Barcelona is exactly the right video for it.
[7]