Crushing disappointment!!!…

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Anthony Easton: I like when dubstep calms down and moves forward into a set of elegant interlacing, rather than being the sort of manic dance-for-the-sake-of-dancing L.A. pleasurebots. Extra points for the abstracted chorus.
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Alfred Soto: Ware’s second single of the year isn’t as compelling as the first but it sure does prick the ear: a quiet synth pad indebted to early Massive Attack, elementary programming, distorted vocal gremlin. But whether belting or simmering she’s in control.
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Iain Mew: For the most part, this is a thing of perfect tranquillity. Over its light beats and shimmering chords, Jessie doesn’t sound like she’s dancing on her own so much as in suspended animation. Except that there’s that warning siren of a spoken sample flashing a message saying ‘something isn’t right here’, and then there’s “wishing in the dark” and it’s clear that it’s all a front. Really she’s having to work furiously hard to keep things seeming so still. That’s when the song gets touching on top of sounding great.
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Brad Shoup: Already an inspired bit of violent folderol, the Pun sample keeps fooling me into hearing “delicious on your forehead”. My first reaction: it’s a Julio Bashmore gambit to distract from the pleasant lightness of its surroundings. But now I’m thinking it’s just the most notable of a bunch of dissonances: a restrained song about jerking, violent aggression shelved with dancefloor meekness. It’s a weird tune, and modest about its oddity.
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Zach Lyon: A perfect diversion down a hidden path on your walk home. The tittering drum effects propping up her coo make such a soft mechanism, splitting the difference between tranquility and breathlessness. 
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Katherine St Asaph: Gorgeous and insubstantial as light shining through tissue paper; I can’t imagine why it’s paired with lyrics like “we can play hard.” Maybe she’s really saying “play harp.” Maybe she’s making irony of beauty, because whimsy’s been thoroughly plundered already for that. Maybe I shouldn’t study this so closely. 
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