Not so fond of quavering and wisps.
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[5.11]
Patrick St. Michel: I was expecting a radical reworking but…the end result is so slight as to be way more surprising than any bass-heavy freakout the Ultra Music association hints at. The only really notable change is that the beat has picked up a little and the vocals are a little muffled. Otherwise, it manages the exact same vibe as the original — a relaxing sunbeam of a song that does its job before whatever is scheduled next come on the radio.
[5]
Mo Kim: I’m pretty sure I heard this song five years ago on a road trip. There was a booth at the rest stop where bootleg disco compilations were a dollar a piece.
[4]
Anthony Easton: The horns and handclaps are always welcome, and this is exquisite in its execution, but I was hoping for more noise and less twee precision.
[4]
Micha Cavaseno: *holds up a sign from the bleachers* “EVEN IF THE CHEERLEADER IS COOL, YOU SUCK. AS A FAN OF AUTOTUNE I’M APPALLED AT HOW YOU USE IT TO DISTRACT FROM YOUR SINGING. PLUS, THIS WEIRD SOFT-ROCK EDM SHIT IS GROSS. IT SOUNDS LIKE TOTO. I BLAME DAFT PUNK FOR THIS TOO. I HOPE YOU PULL ALL THE ACLS IN THE WORLD. THANK YOU FOR YOUR TIME.”
[1]
Scott Mildenhall: Wavery syllables are the delicate distinctions of a delicate piece, creating an almost fragmented melody in the chorus that lightly brushes against the open and unobtrusive beat. Jaehn has tweaked little to reach that gentle juxtaposition, but all that was needed for short-term indelibility.
[7]
Luisa Lopez: Like a little cloud rolling by and just as harmless. The joy of a simple song sometimes comes when it opens the door for a moment on all the other things it might have been, and here that’s when those horns lose themselves for a few measures in such rapidfire bliss that they turn into the verse.
[5]
Jonathan Bogart: “Minimal coupé-decalé?!” was my first thought before reading up and learning it was a German remix of a two-year-old Jamaican pop-soul song. The original vocal is slightly more winsome if only because less digitally altered, and the original track is certainly more energetic and conventionally paced, with a sax solo right out of the mid-80s, but there’s something so attractive about all the empty space Jaehn leaves in the mix, the way he lets the horn wander out lonely over the beat, that puts me in mind of late-90s pomo-lounge acts like the Januaries.
[8]
Brad Shoup: A pop-punk topline delivered idly and contemplatively, with the trumpet to match. Shame that the rocksteady’s gone though. But what’s left is something more interior: the sound of someone happy looking over the nighttime ocean.
[8]
Will Adams: What a hack job. The bass and piano are playing different harmonic progressions, the mixing is unbalanced, and dance music is somehow rendered soporific.
[4]