Yeah, it’s enthusiastic Youtube comment tag-line Wednesday. Plus Ellie Goulding.
[Video][Website]
[6.25]
Alfred Soto: Hearing the Robyn-lite of “Lights” on the radio was like drinking a glass of sparkling water after an afternoon of beer. Except for the chorus’ rolling tumult, in which Goulding yells against an avalanche of synthesized effects, “Figure 8” is closer to the hits through which “Lights” cleanly pierced.
[5]
Anthony Easton: I just love how rich and sweet Goulding’s voice is here. The production is on the verge of feeling dated now, so it will come through as some kind of revival in 20 years or so, which is when we can properly review it. But delicate vocals and subtle house bosh is a winning combo.
[7]
Patrick St. Michel: Unlike Taylor Swift’s “I Knew You Were Trouble,” the use of dubstep in “Figure 8” comes off as superfluous rather than contextually important. Doesn’t sound bad, mind you, but is way less compelling.
[5]
Katherine St Asaph: “I chased your love around a figure 8” is the sort of line that seems deep but makes less and less sense the more you think about it. (Though there are undoubtedly at least three would-be Winter Olympians choreographing it right now.) Unfortunately, it’s also the central metaphor, and all the thing’s popstep and surrounding cliches can’t put it together any stronger.
[6]
Jer Fairall: Goulding’s waifish vocals strive uneasily in the direction of a Florence Welch-like majesty, like a mutant Bond theme undone by the singer’s inability to convey the requisite strength and steely composure. A squiggly little synth freak-out on the outro points towards a fetish for 70s art rock that suits the eerie fragility of her presence much better, but all of this is undone by co-producer Mike Spencer’s attempt at crafting “Too Close, Part 2,” only this time ruining an otherwise interesting song rather than simply amplifying an already terrible one.
[5]
Edward Okulicz: Twitchy electro makes a fine soundtrack for sinking into a metaphorical combination of ice and quicksand. Ellie’s voice tells the story more than the words.
[7]
Daniel Montesinos-Donaghy: Over the horizon, Goulding’s ghost of a voice slowly approaches, sharing a lament of ruined love. The lyrics referring to backseats of cars and cheekbone kisses, small details that share the intimacy of a memory. It’s a fine display of romantic melodrama, something that Goulding’s previous collaborator Starsmiff would have matched note-for-note. Instead, producers Mike Spencer and MONSTA fill up every corner of the track with a paint-by-numbers digitalised din. Some pretty flourishes pop up (chiming harps, stumbling guitars) but they, like Goulding, exist in another song entirely, not enveloped in this awkward synergy of ballad and beefed-up glitchiness.
[5]
Brad Shoup: Excepting the line about cheekbones, does this strike anyone as a subpar imitation of Sub Focus’ “Out the Blue”? No? Fine.
[5]
Ian Mathers: Unlike Taylor Swift, at least Goulding manages to make her synthesizers signify some sort of drama. Unfortunately, even in the course of a pop single that heightened sense fades quickly, until at the end even the ascent into squealing tones just feels like it’s trying a bit too hard.
[5]
Iain Mew: Musically this has got it all. Actual dynamics, verses stretched taut over harp strings, bass explosions of a scale to match the emotional stakes of the chorus and a sense of breathless motion that does feel like the chase that Ellie’s singing about. Also, the song finishes by collapsing under the force of its emotions, which is about the only appropriate way to go. It’s her best in a long time.
[8]
Will Adams: “Figure 8” has a gigantic force that simply destroys everything in its path. Unlike many before her, Ellie is able to work with her dubstep background instead of against it; she repeats phrases and syllables against the contorting bass, looping around the figure 8 at breakneck speed. Extra point awarded for the exhilarating final chorus, which sounds like a tornado is ripping the song to pieces.
[9]
Jamieson Cox: I can’t get enough of the explosiveness of “Figure 8,” its chorus like blowing up a crate of dynamite on some remote island above the Arctic Circle, waves of heat and bass melting icy verses. Few working pop singers can navigate frigid electronic tracks like Ellie Goulding without sacrificing their warmth or humanity, and I think this song would suffer in less capable hands. Instead, it’s one of the year’s strongest pop singles.
[8]