SHIT! JUMPER! ACTIONNNNNN!…
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[5.57]
Alfred Soto: It’s 1991 again: a Seal clone oozes Brit neo-soul over a KLF sample and a Martha Wash wannabe. Yes, I’m a sucker for this sort of thing, even when I suspect the lyrics are “meaningful.”
[7]
Kat Stevens: Aww, it’s like Messiah are back! But a lot slower!
[6]
Martin Skidmore: Guest vocalist Liam Bailey sounds as if he might be a good soulful singer, under the moderate processing, and the rest is a big dubstep pop number with a strong female singer belting out a hook. I kept expecting it to explode with energy, or to get a big dubstep breakdown, but it rather trundles along the same way throughout.
[6]
Josh Love: I know “Love Sensation” was a disco hit before the Funky Bunch got their mitts on it, but all this sample really does is conjure up bad memories of black-and-white Mark Wahlberg getting a 20-year head start on prepping for The Fighter. Thanks for that, guys. Say hello to your mother for me.
[4]
David Moore: I didn’t realize that a Marky Mark hook needed so much pomp. The earworm is buried in pyrotechnics and pretension, all helicopter crane shots and giant wind machines and no fun.
[4]
Katherine St Asaph: They call this a club anthem, but it doesn’t quite work. It’s too hazy, and not four-drinks-down hazay either. It’s the sort of haze, rather, that builds up from insomnia and too little human contact. The synths sigh instead of soaring; the verses won’t stop beeping, as if someone forgot to press a button somewhere. There are a thousand things this is more suited for than dancing: trundling home down the highway, clicking through browser tabs waiting for dopamine, watching your clock radio blink through enough numbers for you to realize you’re actually watching this, like that’s even a valid thing to do. But everyone’s going to dance to this, of course, and at least a few out of defiance: the decision that damn it, you’ll lurch your body with the rest of them, fast and hard enough that whatever’s got your heart can be trampled or outrun.
[7]
Iain Mew: A bit of the same kind of pummelling, obvious BIGNESS that they generally specialise in, together with a lot of a slightly type of spacey BIGNESS. The strings and diva vocals do a fair bit of hard work, but in stretching so hard for scale it still winds up sounding curiously empty.
[5]