We waited for it to chart in just about every European country, but damn, we got it before it hit America at least.
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[3.60]
[4]
Will Adams: This whole micro-genre of looped guitar plucks and hoarse men mumbling about their shallowest desires over tinny drum kits will never be anything but totally boring to me, but if it’s any consolation this entry only lasts two and half minutes.
[2]
Katherine St Asaph: Big Machine, you crazy for this one!
[1]
Abby Waysdorf: Oh, it’s getting to be summer, isn’t it? You can’t always tell by the weather (we’ve had a few great days, but much more rain) but that doesn’t stop the typical European summer songs coming out. Lost Frequencies is a Belgian DJ, so he knows what to put out to get a hit this time of year — an Avicii-tinged understanding of country, summer-nights mild-but-steady dance beats, reference to an exotic warm destination. It checks the boxes in a suitable fashion. I’m already kind of sick of it, though, which doesn’t bode well for when it actually gets warm.
[4]
Iain Mew: I assumed that the take on Mexico was European exoticism right up to the point of discovering it was an Easton Corbin sample. After Avicii and all I guess sampling actual country records is a logical step, but speeding Corbin’s line up to the point where “drink some margaritas by a string of blue lights” becomes “drinkshum margaritasbazhinga ooh lights” ruins the mood they weren’t even generating very well anyway.
[3]
Micha Cavaseno: #EDAMERICANA
[3]
Scott Mildenhall: A title that could feasibly be uttered by a fictional revolutionary in a Hollywood film, or a paramedic while checking for a pulse. Lost Frequencies is that paramedic. But fear not! He’s found it, just about; it’s just unfortunate that a boring song given a weak pulse (and a re-recorded vocal) is often still a boring song.
[4]
Megan Harrington: It’s now very popular to be depressed during the winter and if you’re one of those people who likes to go out a lot and experience fresh air then I totally get how frozen sludge and max eight hours of daylight could burn you out in record time. But summer’s way more depressing for me because every day is an endless list of things I should be doing and experiences I should be having and I wind up spending more time than I should taking a nap or motoring through shitty television on Netflix. “Are You With Me” is the kind of summer jam I can really get behind. It doesn’t start until the sun’s set and then it meanders a bit, maybe with a drink or two, before falling asleep by 10 PM. It doesn’t dance or cook with fresh, seasonal ingredients. And its percussion isn’t anything so exciting as a handclap or a foot stomp, it’s a clicking tongue. So pleasant.
[8]
Thomas Inskeep: “Deep house” my ass, Wikipedia. This is a lazily pieced together sample from an old Easton Corbin album track placed over a preset keyboard rhythm track that’s inexplicably gone top 5 all over Europe. There’s no accounting for taste, I guess, because this is really awful.
[0]
Patrick St. Michel: “Wait, that’s it?” This song breezed by so quickly and without any big “gotcha!” moments I genuinely muttered this once “Are You With Me” finished. Such are the perils of working at home. It wasn’t a negative reaction though, because this one glides forward on the best kind of barely there guitars (basically the finest aspect of the xx) and a simple but aching desire. It’s a sweet and fleeting desire.
[7]