Transatlantic hitmakers go head and switch their style up a bit…
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[5.91]
Martin Kavka: Who decided that 2005 Britney was worth plagiarizing? Who failed to suspect that a song called “Evacuate The Dancefloor” with a lyric “I’m about to explode” just might give rise to a million juvenile scat jokes? And who thought up of this stupid title anyway? Aren’t songs that evacuate dancefloors *bad* songs? Sheer idiocy every step of the way.
[0]
Alex Ostroff: Miles better than Little Boots’ “Remedy”. Music as infectious disease that compels you to dance ’til you’re dead is both more interesting and rarer than “Remedy”‘s suggestion of music as cure to life’s ills. The guest rap is wholly unnecessary, though – is there another mix without it?
[8]
Anthony Easton: I really like this. I can point out who she is quoting (Sophie Ellis-Bextor, Britney, etc), and I know it is derivative, but not sure of what genre.
[7]
John M. Cunningham: In early 2006, “Everytime We Touch” felt rather anomalous. It was a big slab of Eurodance, and on American radio those rave synths stuck out amid the latest crop of snap hits. With “Evacuate the Dancefloor,” I can’t tell whether Cascada is now more in step with the Top 40, or whether the Top 40 is now more in step with her. Probably a little of both: there are elements of four-to-the-floor house these days in everything from “Just Dance” to “Love Lockdown” to “Don’t Stop the Music,” but the AutoTuned vocals and guest rap also make this sound more like a Black Eyed Peas production than her previous work ever did. Not that I’m complaining, exactly: I was never in love with the old sound, and this is pretty well executed, if not transcendent.
[6]
Martin Skidmore: Natalie tries to sing more soulfully, which she can’t quite manage, but the key point is that I didn’t feel at all like throwing my hands in the air and dancing like I just don’t care when it hits the chorus.
[5]
Michaelangelo Matos: Am I right to hear this as the re-entrance of Justice-style Euroblare into handbag chartstuff? Yay! What do we need up here on this dance floor? BLARE! BLARE! GIVE US MORE! WE DON’T CARE! What a chorus, too.
[8]
Edward Okulicz: I really wanted to like this, but I think the chorus is a little bit over-egged and overly busy. The jerky euro-R&B of the verses are kind of spooky more than boshing, and quite interesting at the same time, whicih makes the by-the-numbers synthiness of the chorus a bit of a comedown, and it’s not redeemed by much of a tune. Also, the rap bit is terrible.
[5]
Anthony Miccio: Anonymous mall-pop so lacking the sodden swagger of “star” acts like the Black Eyed Peas and the Pussycat Dolls that I wouldn’t be shocked to hear the copyright was 1997. Not sure if kids still dance to this or if it’s strictly TOTALLY HOT DANCE comp nostalgia (the macho-man break recalls the days rappers failed to receive “featured” status), but I wouldn’t kick it off my summer radio.
[7]
Hillary Brown: Oh my. Clearly this will have exactly the opposite effect, even in the swine flu era. Hotness.
[7]
Additional Scores
Chuck Eddy: [7]
Ian Mathers: [5]