From the screencap: it’s Gatsby meets Star Wars?
[Video][Website]
[5.14]
Anthony Easton: I got into an argument with a SF fan a few weeks ago, about whether the first couple of Gibson novels were dated or prescient — sort of like Metropolis or 70s Ballard — in the way they absorbed the problems of economic and social decay in the moment they were written, and the dystopia of new technology suggests that both opinions are valid. That all three pushed decades of great work riffing on, or critiquing their original premise, reinforces these suspicions. I’m not really talking about the Billy Idol disc, which is celebrating/suffering a major birthday this year but at least that was a better example of derivative works than this.
[3]
Patrick St. Michel: Punk in the sense that they’ve got like two musical ideas tops.
[2]
Alfred Soto: The bits where I imagine a “Gangnam Style” outburst stand out; the rest is program-by-numbers.
[4]
Juana Giaimo: Extremely heavy and dark synths hammering your head with the same pattern over and over again is the type of music that I thought that I wouldn’t be able to bear for more than ten seconds. But there’s something in this song that makes it exceptional. Is it that bouncy beat? Is it that surprising “shock!” that towards the end isn’t surprising anymore? Who knows, but this could have been a lot worse.
[6]
Brad Shoup: It staggers and stabs, it recruits what sounds like a Russian wrestler’s hype man. The synths babble upward in a perfect imitation of my girlfriend’s post-sneeze sounds. It’s the dumbest fun I could want right now.
[9]
Daniel Montesinos-Donaghy: There’s menace roaming around the edges of this, those martial yells signalling something frightening bubbling around the glitzed approaches and bass drops. It’s standardised, but that outside tension keeps you on your toes.
[6]
Will Adams: At my desk, this is relentless mosh music and probably a [4]. In a mosh pit, this is relentless mosh music and probably an [8]. Verdict:
[6]