This one doesn’t have five-headed megaphone skronking, sadly.
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[6.17]
Katherine St Asaph: Solid and tuneful but unshowy: the [7]-est [7] ever.
[7]
Anthony Easton: It’s the exact right length, and the first few seconds before the vocals has an elegant, almost paranoid percussion, the vocals themselves sound somewhere between Gothenburg and Tokyo, for someone who has been doing this since she was 14, she still manages to be fashionable, and smart about what is needed. It’s a little too precious, but it’s smart.
[6]
Iain Mew: “Go Round” clatters and snaps and pulses in an endlessly busy kaleidoscope of little details, but the overall effect is surprisingly low-key. Only the chorus and the peculiar shapes that Namie stretches the sounds of the title phrase into really stick with me.
[6]
Alfred Soto: Affectless and unflappable, Amuro can go a few rounds with any guy or keyboard kaleidoscope who confronts her.
[5]
Brad Shoup: I don’t think Amuro’s leaps into her upper-register are software-assisted, which becomes a better tidbit after Tesung Kim does the standard vocal dickery. The bass synths offer the potential for chaos, but Amuro’s content to glide, sadly.
[6]
Jonathan Bogart: I’m not sure what mid-to-late-90s song it remind me of, with the vocal leaps on “go round… go round… go round!” refrain, but maybe it’s just that I haven’t heard anything this confidently light in fifteen years.
[7]