Not a patch on the original…
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[5.10]
Anthony Easton: Sounds like Gotye a year too late, and Gotye was not as exciting as it could be. His voice is practically soporific.
[2]
Cédric Le Merrer: Sounds suspiciously like late 90s/early 00s indie dude funk (think White Town or, more obscurely, MC Honly). Though I kinda enjoyed it at the time, I’m not convinced this is the sound most in need of a revival right now.
[5]
Alfred Soto: The Postal Service with electronic gahoozits. I’m sure a lab created the vocal too.
[3]
Patrick St. Michel: I keep waiting for this to transcend “pleasant synth pop,” but just get a weak climax and some mumbly vocals like B-grade Loney, Dear.
[4]
Iain Mew: I prefer fly mode, but “Buckle Up” fizzes with enough electronic twists of melody that even the wan indie vocals start to sound powerful.
[7]
Crystal Leww: Take the best example of Scandipop: Robyn. Take out the best part, Robyn herself, and replace her with a whiny male voice reminiscent of that Owl City guy. Take her star-studded production crew and replace their work with plastic, synthetic beats in the worst possible way. You now have Rainmode.
[2]
Brad Shoup: That syncopated synth line gets so close to intoxicating: it’s straight from the Patrick Adams playbook. The next page has abandon drawn up for the vocals. Instead, they called a half-audible audible.
[6]
Will Adams: Marblemouthed vocals atop chunky synth lines press all the right buttons for me, but the chorus — with a stop-start dynamic and the clunky lyric, “one way trip to the shores of doubt” — keeps the song from really, to belabor the metaphor, taking off.
[6]
Scott Mildenhall: Of the many things it could, this first brings to mind a softer Vitalic, and one with far more of an eye on pop and the clarity of ideas that comes with it — for all the talk of bumpy landings, it’s a song that knows exactly where it’s going. The vocals are a bit lost, but perhaps if they were fuller they’d intrude on all the really ear-catching bits — in any case “I don’t know what you’re on about” is a line that sticks in the mind as is.
[7]
Mallory O’Donnell: Somewhere out in the drift, locked inside a stormcloud, under the coral reefs, there exists a perfect slice of dance-pop that precisely combines rough and polished, naive and savvy, makeshift and Machiavellian. This song is perilously, preciously close. But it is not yet that song.
[9]