OMG PUPPY!
[Video][Myspace]
[6.83]
Edward Okulicz: The word missing from the title is “intro” because it sounds like one. Indeed, I think this might be the only disco song to ever bear a passing resemblance to Radiohead’s delirious intro-par-excellence “Everything In Its Right Place.” No doubt it takes a while to get going, but it’s got prog’s ambition, motorik’s chug and disco’s bliss, which is more than enough for a high score from me.
[8]
Alfred Soto: This gets going at the 3:10 mark when the percussion enters. The sampled/live/whatever vocals veer perilously close to Moody Blues castrati emo, reminding me that these guys aren’t much interested in making you dance or even interesting sampled collisions; “theoretical” they take seriously.
[5]
Jer Fairall: S.H.R.U.G. 1, 2, 3, 4…
[5]
Katherine St Asaph: You want ’90s nostalgia? This probably emulates something else, but to me it sounds like music from a PC game from around 1993, driven by a simple-to-sample piano riff and percussion recorded by some coder scratching at the grooves in his desk. The flutes were added later, in MIDI Orchestrator; the beginning part’s a budget-friendly public domain arrangement, maybe for a menu screen. Even the guy’s voices sound programmed in over the top. There’s anachronistic dubstep because of course there is, but otherwise this could easily be from, say, Lemmings or one of the Star Controls. What everyone forgets about nostalgia is that people want to hear this again.
[8]
Brad Shoup: I could be thinking too much about that intro, but this sounds like an Italian prog band turning one of its conceptual concert interludes into a fluke New Wave-era hit. The intoned intangibles get the wide-eyed treatment with lots of metronomic downstrokes, reverent organ tamping, and eventually the big reveal of a drumkit. Wonderfully portentous nonsense.
[8]
Jonathan Bogart: I only really caught the penumbra of the original Justice hoopla back in 2007, never managing to actually listen to any of the music, but I’m quite well-disposed towards this. It’s (what I think of as) standard French filter-house, all glorious surge and crisp instrumentation, with a mildly pointless, recursive vocal line. I appreciate the classicism, but without a dancefloor to fill, I’m at a loss what to do with it.
[7]