No mirrorball glare will stop us!
[Video][Website]
[6.75]
Anthony Easton: Immaculate, like one of those shiny Mylar dolphin balloons floating into a June sky. Except it is February, and the world is cold and miserable. Extra points for how expansive and overflowing the work is, louder and less secretive than anything that could safely be called a hideaway. I want this to be my anti-Valentine.
[9]
Daniel Montesinos-Donaghy: A series of coos at peak register, culminating in raved-up revving, a distraction from a stalled engine.
[3]
Alfred Soto: I can see the production fingerprints of Gorgon City, responsible for the good neo-house number “Ready For Your Love.” Consider its anonymity a strength: a vocalist of decent lung power understanding how to sing to a good rhythm.
[7]
Jer Fairall: Perfectly competent retro-house, but the vocalist is neither powerful nor etherial enough to evoke any kind of appropriate mood.
[5]
Katherine St Asaph: Kiesza, fooling no one with her clipped vocals and “you’re just”s, oohs and aahs and sings her cords out over increasingly love-delirious house, trying and failing to talk herself back into whatever sort of escapism the crush began as, because talking herself out of it is out forever. Even the “We Found Love” breakdown sounds besotted.
[9]
Iain Mew: Kiesza sounds incredible, gasping and soaring and sounding ready to blast through and illuminate any hiding space. As long as the house production pads softly behind her and keeps out the way, she’s got enough to carry the song alone, but never has a Calvin Harris build and break been quite so deflating.
[6]
Scott Mildenhall: A foreboding house track with conflicting chinks of light called “Hideaway” that isn’t one of the greatest ever instances of recorded sound? Well, this is novel. It’d be nice to think that wasn’t coincidental, like the melodic similarity of the opening lines to those of another enduring house hit presumably is, or how if not the “ooh”s then at least the “aah”s sound just a little bit like Shakira accidentally touching a boiling pan can only be, but in any case she’s pushing the right buttons, cartoonish vocals or not.
[7]
Brad Shoup: Her pipes are pretty much the only reason I keep cueing this up: the showstopping phrases, yeah, but the “aah” bit is pretty funny. Look, I thought this was going to be an icy creep, but she swaps bass for treble like there’s got to be a damn degree of difficulty, and she grinds it all to dust. Demands, introspection, silliness: it’s all here.
[8]