Anthony Miccio – the man who says what you’re all thinking…
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[5.71]
Anthony Miccio: Is it impressive for a dude who won France’s Pop Idol to sound like a chick on an Air album?
[6]
Martin Skidmore: The electro noises on this are rather galumphing at times, and the beats are too simpleminded, but the singing is lovely – sweet and sexy and very feminine. His voice over the classy strings would be excellent, but the clumsy extra elements here are annoying and the insistently bouncing rhythm moves it too close to some sort of mainstream variety TV show turn.
[6]
Chuck Eddy: He really sings like a woman, doesn’t he? Except when he doesn’t. Both of which I respect. And if his Wiki isn’t lying, I even more respect the wacky list of songs he performed in France’s ’06 Nouvelle Star competition: among them “Sunny” (Boney M), “Ça Plane Pour Moi”, “I Want You Back”, and “Born to Be Alive”, not to mention token numbers by Des’ree, Cyndi Lauper, Whitney Houston, Celine Dion, Barbra Streisand, and Donna Summer. So if I’m overrating this dancey, breathy, wispy, unashamedly orchestrated slice of drag-chantoozie pop, it’s with good reason.
[8]
Peter Parrish: Starts off a bit like something from Depeche Mode’s Exciter (except with soothing French vocals delivered in a pleasing meter), then adds some plastic strings to try to grab us (which don’t get in the way of the soothing French vocals delivered in a pleasing, if getting a bit samey now, meter.) So far, so heading for a five. But then I translated some of the lyrics: “This probably screwed us / I like everything / I like everything / Yes all.” They are probably incorrect, but to me they are canon.
[6]
Alex Ostroff: While there are interesting clicks, whirs and electrorchestral touches on the production here and there, this is disappointing. “Berlin” promised menace and regret and wanderlust. “Plus Que Tout” is none of these things. It’s a vaguely dancey take on a post-break-up dirge, and not a particularly good one at that. Shame.
[3]
Anthony Easton: A little too energetic for a come down record, a little too languorous to get up and dance; somewhere between the two.
[5]
Iain Mew: Sleek and stately heartbreak (with awesome strings) gets a little overshadowed by the glaring oddity of its construction. Namely, just what is that throbbing bass intro doing there? It pops up again for just long enough to start to believe that it’s all going to fit together somehow, but it never does. The lack of resolution is as frustrating as it is intriguing.
[6]