Piffle.
[Video][Website]
[3.80]
Edward Okulicz: A victory lap fanfare for a race nobody else cares about.
[2]
Iain Mew: Soundtrack-ready fare that’s been deprived of the magnificent flock of birds or glacier or whatever it would need to have any effect.
[2]
Micha Cavaseno: Basically a ‘cool kids club’ approach to the Giorgio & Daft Punk “THE OLD GUY IS PRETTY HIP” phenomena. I half expect that that any minute now, we’re going to be treated to more event records like, I don’t know, The Horrors backing Bernard Sumner, or novelty singles where Chance sings a hook for Arrested Development. Regardless of the intent, the song itself is dull, shifting from martial drum programming to “dance” rhythms. Oh, and some arpeggiated New Age synths, because the old guy has to do something more than be a prop, right?
[2]
Cédric Le Merrer: The Bernard-Henri Levy of electronic music team up with every strategic planner favorite’s case study soundtracker. I may resent some of the associations, but you gotta say they are masters of their schtick. Anything less or more than a five would be dishonest on my part.
[5]
Thomas Inskeep: Jean-Michel Jarre, I know Giorgio Moroder, and Jean-Michel Jarre, you’re no Giorgio Moroder. And M83 is certainly no Daft Punk. This starts as a dirge and ends as a (s)lightly galloping dirge.
[1]
Scott Mildenhall: This is a song built for a David Beckham on a speedboat moment, a grand emotional release from the Olympian height of reality-distorting absurdity. News that David Guetta and not Jarre will be the one to hold an overblown open-air concert in Paris for Euro 2016 is therefore disappointing. In a just world, this would be the emotional centrepiece of a drones-and-lasers spectacular, the coda to a night with guest performances from Air, Daft Punk, Justice and probably The Supermen Lovers, upon which all would return to the stage and bask in the triumphant confluence of sport, music and shedloads of cash. Obviously Guetta will be amazing, but it’s an opportunity missed.
[7]
Alfred Soto: Meeting idols can freeze you. I don’t know what Jarre contributes to this shimmering non-entity. Maybe he helped it sound like M83.
[4]
Ramzi Awn: Jarre worries too much about where he belongs, but M83 can do no wrong. As far as anthems go, “Glory” disappoints.
[4]
Katherine St Asaph: Zedd with taste. You’d think that would be a more appealing prospect.
[5]
Will Adams: The low end was left to suffer — the synth bass just sits, and the kick is too light — but the switch from the first verse’s plodding to the remainder’s gallop just feels transcendent. It’s vaguely so, thus I can’t rely on it too much, but I bank on this catching me off guard and giving me a moment of flying.
[6]