The advent of bro-grass?
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[4.00]
Iain Mew: A lot of hybrids of dance and folk/country have taken the biggest impact elements of both and joined them together for constructions of earnest emoting and thudding synth climaxes, the result generally being overload. Despite the title, Life of Dillon do nothing of the sort. Instead they match a gorgeous bunch of twanging riffs to an easygoing house groove in a way that’s closer to “Waves” than it is to Avicii, though with a boost of energy that lifts it away from chillout. It’s a set-up that offers support and space enough to bring out the best in the heavier load of the vocals.
[8]
Crystal Leww: “Overload” is the cringeworthy combination of Mumford and Sons and EDM, no doubt a result of the continued popularity of whatever the hell Avicii started. And yet, this teems with unbridled warmth, like goofy smiles and getting sticky from twirling around campfires. I’m not that girl, but I imagine this is what wanting to wear a flower crown feels like. “Overload” is the first great tune of this summer.
[9]
Katherine St Asaph: The Sugababes disbanded for this?
[3]
Thomas Inskeep: “Acoustic house” fucking NO. I guess we blame Avicii for this shit?
[0]
Micha Cavaseno: Bro-Grass, complete with steel drums. I don’t know who thought we needed this, but it’s here, and uh… well, if there’s another song like that, I guess it’ll become a thing. This song itself is nothing, but if bro-Grass is gonna be a thing, then, well… OK, I guess.
[2]
Alfred Soto: Listen, if I wanted to hear a steel drum preset I’d get the Casio out of my closet. If I want Adam Levine, I’ll — well, no.
[1]
Mo Kim: “Are you feeling it now, Mr. Krabs? Are you feeling it now, Mr. Krabs, are you feeling it? Are you feeling it now, Mr. Krabs? Are you feeling it now, Mr. Krabs? Art thou feeling it now, Mr. Krabs? Are you feeling it now, Mr. Krabs?”
[4]
Patrick St. Michel: Ne-Yo’s “Let Me Love You” gone Boy Scouts overnight camp.
[5]
Will Adams: I’m less concerned with the continued presence of countrEDM (this iteration sounds fine, nothing more, nothing less) than I am with the seeming proliferation of Sam Smith-esque guest vocalists. On their own, the squawky timbre isn’t much of a problem, but when pitch correction software latches on to the more abrasive formants and sustains them, it gets ghastly pretty quick.
[4]