Not about the Day of the Dead…
[Video][Website]
[6.40]
John Seroff: Possibly the only good thing about the current Guettaization of pop is that bare-bones SNAP! throwbacks shine that much brighter in comparison. “Get Out My Head” is far from groundbreaking, but it does what much good dance music does: it supplants the critical urge with fast twitch response and mindless disconnect. You guys can go ahead and talk this one out, but I’m going to the bar; anybody want anything?
[7]
Alfred Soto: Not having heard keyboard vamps like this since house music finally soaked through the pop chart in ’91, I was predisposed to like this, and I do — the kind of tuneful anonymity which formed the soundtrack of my early clubbing days.
[6]
Edward Okulicz: This puts the JX in Basement Jaxx.
[7]
Michaela Drapes: Tidily massive, with nothing to spare, this begs to be pulled and stretched and manhandled into something messy and sprawling and a thousand times more epic. (Oh, hey, thanks Joker.) Which is not to say that the bedrock foundation itself isn’t remarkable on its own, but a little more skronky, knob-twisty embellishment wouldn’t hurt to help this sound a little more modern.
[7]
Brad Shoup: Fun fact! When you translate the introductory tapping into Morse code, it spells out “TIME FOR CURRY”!
[4]
Jer Fairall: The use of what has traditionally been a standard mid/downtempo house synth pattern in a track that frantically accelerates and abruptly decelerates at random whim lends the whole thing an volatile sense of momentum, but it is still a patchwork made out of standard, well-worn pieces. Will undoubtedly sound far better in a club setting, where nuance and unpredictability are rarely a concern.
[6]
Katherine St Asaph: I keep wanting to make a (probably inaccurate) comparison to Katy B, because I hear in this what I heard in “Katy on a Mission”: dance that’s sinuous, not overbearing, made less for clubs than the night streets you could escape to.
[8]
Anthony Easton: Obsessive, and the speed between the chaos and the calm is breakneck. The erotic megalomania found when others colonize your own imagination — and deciding whether to give them permission — is well-encapsulated here.
[7]
Iain Mew: “You just don’t know how much you messed up my flow”. I don’t know, it sounds pretty good to me.
[6]
Jonathan Bogart: The basic, minimal thump of the song is a bit disappointing after the music video, in which Mexican Día de los Muertos festivities bring out a lot of the kind of cultural specificity that the music could have used. I guess I don’t fully understand why you would need to shoot “on location in Mexico!” as the official website gushes, when the end result sounds like you never left your Bristol studio.
[6]