They’re no S2S…
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[5.43]
Brad Shoup: C2C’s shtick, as I read it, is Big Beat filtered through entry-level turntablism. I’ve been over the moon for “The Beat” for months cos even as a song-length hook, it remains compelling in true Junior Senior style. But it’s a fine line, y’know? “Delta” goes for that pre-chitlin gold and comes up with a Moby B-side. Instead of some filter house or a scratch breakdown, they toss in someone going “how many licks” for twenty seconds, like that’s meaningful, or even fun. File this under Wankelmut.
[5]
Jonathan Bradley: Confined to the dissociative realm of the dancefloor — or the third culture confines of competitive DJing — a (pseudo?) trad-blues flip nestled within bourgeois synth dance might come off as clever. Elsewhere, and considering this group’s two other most successful tunes (“Down the Road” and “Happy”) mine the same African-American-history-as-authenticity aesthetic, the nicest thing I can say is that I remember Moby, and this is no “Honey.”
[3]
Anthony Easton: The truly bizarre mixed metaphors here confuse. I mean delta is an ancient metaphor for women’s sexuality, and it might not even be a metaphor, it might be an update of the blues argot of loss and seeking to negotiate that loss. Those two held in tension would have been enough to be interesting, especially with all the electronic scrawls and scribbles, it would have been almost elegant. But, near the end, with the confectionery references, it’s jarring in such a way that almost seems accidental.
[6]
Patrick St. Michel: Get rid of the Tootsie Pop thing and this bouncy number probably gets one more point. Still, pretty charming without ever crossing into aggravating EDM territory.
[6]
Alfred Soto: Boy do the French love these distorted voices and squelched affect and electronics that burp, burble, and bump. This is more les Daft Punk meets der Kraftwerk.
[6]
Daniel Montesinos-Donaghy: Well, that was kinda phallocentric.
[5]
Iain Mew: It’s collage pop, which operates on the neat trick of highlighting all of the joins on the surface while hiding the ones underneath. They filter the vocals to the point where even when they aren’t juxtaposing obviously different ones they still stick out in surprising directions, but back it all up with a slick groove. Even though the message is meaningless at best, the journey works.
[7]