Someday we’ll get back to The Business as usual…
[Video]
[4.00]
Iain Mew: Depressed, resigned, barely awake, and utterly corporate. Props for the irony if not the listening experience.
[3]
Thomas Inskeep: Mediocre dance-pop with a vocal that’s altered (lots of pitch-shifting) beyond listenability? No thanks.
[2]
Rachel Saywitz: I imagine this being played at a corporate business function two months from now, where the CEO proudly announces that COVID is over and everyone can go back to work for the good of our nation. Cue the droll bass drop of a subpar club track, the words “Let’s get down to business” booming in the ears of all attendees as they rip off their masks and start making out with each other, grabbing fistfuls of hundred-dollar bills that have magically fallen from the sky. One month later, the song continues to haunt the last remaining members of the corporate crew as they stare down a ravaged graveyard where their colleagues lay. “He said to get down to business,” one of them whispers quietly, hands reaching to wipe their stuffy, unmasked nose. “He said to get down to fucking business.”
[2]
Alfred Soto: I have to think COVID-inspired bedroom dancing inspires the creation of tracks as vacant as this. Which doesn’t mean after a couple gin and tonics I wouldn’t get down to bidness.
[4]
Samson Savill de Jong: House music isn’t so much telling a story as creating a mood, and here all the elements work together very well. Lyrics and production more than play their part, but the singer in particular does an excellent job of conveying a man who is done with this relationship, done pretending he cares, and just wants to get this one last night of sex over with. It creates a mood of resigned obligation, a track telling you to dance not because it’s fun but because you must, which sounds bad typed out but I think is a niche that is needed. The ending’s disappointing though, I feel like this song should climax but it sort of just tails off, which leaves the energy trickling away rather than satisfyingly expelled.
[7]
Scott Mildenhall: The bravado of “The Business” is impressive: an exceptional exercise in talking loud and saying nothing. While its lyrics could easily have been throwaway or merely mood-building, they instead deal in the declarative to such a degree that their lack of depth lends fascination. James Bell is speaking about his heart, hurt, and above all The Business. Clearly it must be Very Serious Business, but he travels almost comical lengths to avoid revealing it. Sadly, at some point circumlocution stops adding mystique and starts sounding stupid. However valiant the efforts of Tiësto, the mood is lifted.
[6]