Pretty sure I’ve been to a goth club in Leeds that had those exact tables…

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[5.86]

Doug Robertson: In every city there is a club that has never moved on. The dry ice fires out unpredictably, dappled with laser blasts and strobing lighting effects. They might be playing this song, they might be playing something a bit like it, it doesn’t really matter because at that time of night it’s not about the specifics. The only important thing is that it sounds amazing, connects directly with the dance centre of your frontal lobe and takes over the room like an oversized lemur. God bless that club. God bless it.
[7]

Hazel Robinson: Out of all that greenish gloom in the back of the Sucker Punch posters comes an 8-bit arcade-lit club which the floor periodically falls out of and Emily Browning’s intense gaze meets yours at at the drop, all frightened exhilaration. I have a very active imagination. Having been a big fan of Chase & Status before they confused power with putting a guitar on it, I really like the way this triple-bluffs me into thinking it’s going to go into some latter-day Pendulum bullshit and then instead flattens me with some sort of bass railgun. I didn’t like “Me & You”, but with this I’m suddenly gripped by an urgent need to find out if I can make Unreal Tournament work on my Netbook so I can draw cocks on buildings with the Plasma Rifle, so well done all concerned here. Especially since for all the ballistic acrobatics, there’s that chipmunk-tweaked, desperate trance vocal that might as well stab itself straight into my circulatory system for the same heartclenching rush effect. V GOOD, TICK.
[9]

Jer Fairall: I kinda, sorta liked the last single we reviewed by this lot, but that one placed its emphasis on its King Kong-sized hook, whereas this, for all of its buzzing and stomping, ends up defined by the singer’s piercing nuisance of a voice. Probably captures something of the ecstasy-fueled delirium of the right club on the right night, but on headphones it’s a headache.
[3]

Mallory O’Donnell: Why are they bothering to write an answer song to that one Chase & Status jank now?
[3]

Anthony Easton:Llike a disco ball set between two rococo gilt mirrors, on one of those 80s mirrored coffee tables… recursive!
[7]

Ian Mathers: I’m not usually a fan of this kind of thing (too often they’re either painfully mawkish or boringly functional), but “Guilt” succeeds on the strength of a few surprisingly scuzzy sounding synth melodies and the uncharacteristically intense, relentless (at least in this single edit) vocals.
[7]

Katherine St Asaph: Nero, it seems, only had enough spare parts to make one “Me and You,” so instead they get Alana to crush a recitative down to the size of a hook and plant some New Age synths in the middle for extra seconds. Amazingly, it almost works.
[5]