Remakes on remakes on remakes…
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[3.57]
Scott Mildenhall: What loving soul could bring themselves to invert the awe-striking hyper-sincerity of “L’amour Toujours” into something so jaded? By all means highlight its room-elephant sadness, but remain clear that it is not to be lowlighted. Pure, unfearing devotion and faith, shimmering mystically under its mysteriously French title: that’s what Gigi d’Agostino wanted. Though he may also be grateful for the cheque.
[7]
Iain Mew: The original was stadium EDM with “Clocks” on. Dynoro and Gigi take it, remove the “Clocks,” cut up the most stadium-friendly elements, and make it swing like it’s Kungs vs Cookin’ on 3 Burners. Except that there are no burners, there are no horns, and instead there’s a gaping hole that they’ve thrown up such a hall of mirrors around that you can’t tell where anything starts and ends any more. It’s weird and disorienting but kind of enjoyable.
[6]
Nortey Dowuona: Georgi Kay calmly floats over the plush synths and arched bass stabs before hovering in the clouds as limp, awkward drums slip by unnoticed.
[2]
Thomas Inskeep: Ready-made dance festival garbage with slightly creepy, weirdly-pitched vocals that, fortunately, I’ll never have to hear again.
[0]
Alfred Soto: It’s got something else going on besides the pipsqueak chorus, right? Right?
[3]
Katherine St Asaph: EDM hit turned RDM: Rigid Dance Music.
[2]
Will Adams: In theory, I like the idea of EDM covering itself. Even more than remixes, they help to elevate a classic beyond its own flash success, in effect creating its own canon. It’s just unfortunate that the song in question is one that has been forever ruined by giant anthropomorphic hamsters.
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