Can we get a definitive ruling on whether it’s uh-vee-chee or avv-ih-see or something else entirely?
[Video][Website]
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Patrick St. Michel: “‘It’s so simple,’ he says, laughing. ‘I mean, All my life I have been waiting for someone like you? It’s almost stupid.'” Avicii, in GQ, talking about what we now call “You Make Me.” Should have dropped the “almost” though.
[1]
Scott Mildenhall: Like much of Avicii’s album, off-kilter while still remaining very much on it, but unlike much of his album, not a boring, drawn-out mess (the Adam Lambert and Nile Rodgers track is good though, a rough approximation of what it would have been reasonable to expect Random Access Memories to sound like). Salem Al Fakir, uncredited for the second time on an Avicii single (what’s that about, Tim?) is the John Martin John Martin could never be, riding with the contrast, up and down, high and low, always joyous.
[8]
Anthony Easton: That little note of bongoesque percussion is nice, I would like more of that, and less of the whining over a dropping bass.
[4]
Alfred Soto: I know this is rockin’em in Caracas.
[3]
Rebecca A. Gowns: This is too messy. It sounds too much like either a demo, or a song that’s been worked on too much; there’s too many scraps left on the table. The vocals sound like they were recorded in a closet. The beats are Casio presets laid on top of each other. The piano donks around on top of electronic fills from cell phone commercials. It’s all off. That being said, sometimes when everything’s off, it can turn into the perfect earworm…long after the song’s over, I can still hear the clunky piano and breathless chorus as if it was still being shouted at me.
[3]
Jonathan Bogart: Any hope that Avicii might be haring off in an unpredictable direction after the success of the weirdly affecting Mumfordy “Wake Me Up” dies with the by-the-numbers EDM and adenoidal inspirosinger on offer here.
[4]
Andy Hutchins: It never really starts galloping or explodes like the best EDM tracks, but that intro piano that inverts the unstoppable “Paddling Out” and the Genesis-y drums are nice component parts. It’s a shame that the lyric’s nothing special and the vocals are worse. And can I get odds that it’s only “You Make Me” to avoid confusion with Adele’s “Someone Like You”? (P.S.: The video could not rip off Scott Pilgrim vs. the World more shamelessly.)
[4]
Brad Shoup: Miike Snow is kind of a lateral move, no? Salem al Fakir gets a more natural presentation than on “Silhouettes”. His falsetto bit tears chunks from its New Wave-era antecedents. His yowls are feral. The expected weedy synth melody is a bit of a letdown, but the drum programming gives it a highstepping feel. There’s nothing quite like goonish confidence, and I’m surprised to find it here.
[8]
Will Adams: Dance music doesn’t afford its artists much variety. Tempos are restricted to a small range, and producers are often called on to develop and maintain a specific signature. And yet, of the key players in EDM’s rise, Avicii manages to sound particularly assembly line. Even his shift to piano-based house here feels stale. The anonymous vocal wails away but still adds nothing, the piano is discordant, and that signature reedy synth is as familiar as a headache.
[4]