I was this close to Photoshopping the picture and tagging it “Handlebar (Moustache)”
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[6.71]
Anthony Easton: I know this is supposed to be space disco, but it’s not weird or expansive enough to be. I’m not even sure it has the right beat structure to be disco. It’s not pleasurable. A formal exercise, a desire to repeat without expanding or extending, and it really fails to ramp up significantly. In fact, it might be exactly like being stranded on a bad night in a bad bar.
[4]
Patrick St. Michel: Step 1: Buy giant novelty drink from Las Vegas Strip. Step 2: Pour out original contents. Step 3: Fill with special cocktail that’s 20 percent whiskey, 20 percent lemonade, 10 percent vodka and 50 percent distilled rainbow. Step 4: Find a nice pool or beach, preferably one also near a dance floor or roller rink. Step 5: Drink. Step 6: Enjoy your vastly improved summer.
[8]
Pete Baran: Others in the office suggest it is classic hold music, I give Todd a little more credit than that but never do eight bars when sixty four will do seems to be the ethos. But sunny day breakbeat disco (more on the disco than the breakbeat) it seems to fill a very satisfying hole. Pity there are no sunny days in the UK for it to go with. Strandbar (Samba) is a little better, but Daft Punk didn’t just go and make a samba record.
[7]
Alfred Soto: Terje had me with the wobbly sequencer lines, but like his best tracks he doesn’t hoard the best elements; they’re a preparation for a house breakdown so simple that it doesn’t occur to anyone but he to try it more often.
[7]
Brad Shoup: It’s a monorail — no, it’s a party monorail! The funk is modest (the bassline weakly inverts, then strikes a repetitive figure) but you’ve got to keep your seatbelt on most of the time, right? If you look to your left, you can read some billboards about samba. During the layover, please feel free to imitate Thelonious Monk attempting house.
[7]
Edward Okulicz: All you need to know is that the pianos come in after four minutes, they’re great, and the rest of the track’s fine. It builds well, and the bass is fine for people on their fifth drink or their second hip.
[7]
Will Adams: The bass licks groove, the piano stabs pop, the synths spiral, and the beat bumps. There’s little else to ask for, except perhaps something as great as the hook that “Inspector Norse” had. I’m sure if I were hearing this on a dancefloor instead of during my lunch break, I wouldn’t mind.
[7]