It’ll always be “stupid days” to us…
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[6.14]
Anthony Easton: The “aaahooaha” choruses are pure joy, a helium flight of balloon majesty. The rest of the vocals are flat and affect-less, which tears down the angelic apparatus of the rest of the song. So much potential, for so little results.
[6]
Brad Shoup: i hear a combination of “Tom’s Diner” and the psychedelic cutout-pop masterpiece “Colors” by the Cover Girls. The loops bang harder here, but the affected vocal flatness still suggests someone on the edge of explosion. There’s something High Mass — not parody, but resource — about Alejandra Deheza’s wordless vocalizations.
[8]
Iain Mew: It has that suspended animation quality like Jessie Ware. In this case it’s the chunking beats that prevent the song from just floating by, and their shifting equilibrium with the tranquil vocals that is the most enjoyable element.
[7]
Jonathan Bogart: Seems like there’s a lot of repurposed-tribal-chanting-via-80s-pop-memories going on in indie music this year. Chairlift, Wynter Gordon, and three makes a trend.
[5]
Ramzi Awn: Approaches greatness with a bit too much emphasis on vocals that border on inane in an effort at poignancy. The chorus almost clicks and if it were roughed up a bit more, it might (I keep wanting the refrain to be “stupid days.”) Overall, a little too sweet.
[5]
Edward Okulicz: The beats are thick and fleshy and erotic, and the vocals deny this with their otherworldliness. Nothing you haven’t heard on any number of klutzy late 80s or early 90s dance remixes, but nothing you don’t need more of in your life.
[7]
Ian Mathers: I don’t know, those big chunky beats probably don’t distract enough from the way you’re calling normal, basic social interaction “all of those secret games” the same way like 75% of the people on What Not to Wear just claim to “not care” about appearances as a painfully obvious defence mechanism (yes, I’m calling the kettle black). I’d probably have less time to get bogged down in this if the song didn’t bog down in airy repetition at the end.
[5]