Couldn’t find a picture of Mindy wearing a nice jumper like this, so, you know…
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[5.50]
Alex Ostroff: Most of the time, “Eyes” is a shimmering, soothing piece of electronic waves, focused by Mindy Gledhill’s captivating vocal performance, which does a hell of a lot using very little. Even more impressively, Kaskade’s composition somehow continues to surprise and move me each time that it breaks out from the downbeat shuffle into an explosion of bass, no matter how much I might try to anticipate it.
[7]
Edward Okulicz: When I go out dancing, nothing kills my buzz worse than gratuitous drops in intensity accompanied by the same presets and the same faceless divas. “Eyes” avoids this though, because Gledhill’s vocal glides softly and intimately, and makes this serene club comedown track work way better than it should.
[8]
Anthony Easton: Vapid. The sort of thing that Jarvis Cocker satirized so many years ago in “Sorted for E’s and Wizz.” Absurd. Creepy. Violently optimistic.
[1]
Iain Mew: A lot of the appeal in this is down to the soft and sensual qualities of Gledhill’s voice as her leisurely sighs managing to make even a line as old as “eyes are the windows to the soul” sound appealling. The varied and increasingly intense prettiness that surrounds her does a good job of backing her up too, though.
[7]
Zach Lyon: The lyrics here really improve in spades if you convince yourself they’re being delivered with some self-awareness and irony. Before I made that turn, the fact that they were actually sticking “Eyes are the windows to the soul” at such an important point, with so much weight, made me switch the track immediately. But it just can’t be that… bad. You can’t write real dialogue without cliches, because real people speak in cliches, so I have to convince myself it’s a reference, not an actual attempt at conveying an enlightened thought. The rest of the song is too damn pretty for that.
[6]
Brad Shoup: House DJ and one-man natural disaster makes amends for leveling L.A., offers up one giant fluffy cross-stitch pillow of a single. Lyrical cohesion: none. Optimal soundtrack deployment: when Channing Tatum dives into the frigid Irish Sea after the sailboat’s boom knocks Gemma Arterton overboard during a heated argument in a rainstorm. Secondary soundtrack deployment option: Stephen King’s made-for-TV version of Misery. Notebook transcription potential: disturbingly high!
[4]