Title means a year, score can’t even break a week.

[Video][Website]
[4.22]

Katie Gill: Jesus Christ, we get it Zedd! You like the ticking clock noise! You don’t have to put it in all of your songs! And now you’re extending the clock & time theme to the lyrics of the chorus? You can tell this is Zedd trying to move past the fact that he can only write one song while kind of flailing at the whole ‘write a different song’ part. At least Katy Perry sounds decent.
[3]

Joshua Minsoo Kim: Even without the music video, one gets the sense that Katy Perry is playing the role of someone who’s utterly obsessed, their behaviors so extreme that they’re acting like a programmed robot. You’d think that for the lack of humanness that Katy has successfully displayed throughout her entire career, this would be her moment to shine. Perhaps unsurprisingly, it’s not; she’s unable to create a sad or grim undertone to her lifeless vocalizing, and nothing about this is secretly poignant. Katy’s popular because of her innocuous nature, and her existence is so uninteresting that even her most controversial singles don’t turn away fans — these people are only listening because her music is always the safest approximation of whatever slightly-dated music trend is most acceptable. In that way, “365” is Katy at her best.
[2]

Katherine St Asaph: I can see this being a grower like “One Kiss“; it shares a nocturnal tenseness and just-simmering-over lust. Both Zedd and Katy Perry keep their usual song-ruining to a minimum, though Zedd’s still attached to that damn ticking sound, and the amount of computer processing it took to make Katy’s voice that high and fluting could probably be used to crash the bitcoin market. It’s also way too short, though that’s nothing a strobing dark-dance remix couldn’t fix.
[7]

Iris Xie: Katy Perry is attempting to channel her Orientalist, racist colonizer energy again that was pulled off to a severely nonconsensual and hypnotizing effect in “E.T.” and “Dark Horse.” She tries to be captivating, but Perry actually trips and falls out of rhythm with the instrumental while trying to sing quickly to embody some sort of catchiness, like she’s frantically trying to turn back time to her glory days by talk-singing a contemplative version of the rising and falling verses in “Peacock.” Zedd prepares the instrumental with a beat that sounds like fingers tapping against a filled metal water bottle with the dynamics stretched out. Additionally, the use of the chimes and flutes is meant to evoke a more mysterious feeling, but it comes off as more like a flattened exoticism than anything else. The main redeeming quality is the somewhat fluid post-chorus that calls back to the greatness of using the cadence of a sequence of numbers to create a well-wrapped package, but that is barely utilized.  I just don’t need a racist pop star who makes blackface shoes, yellowface with geisha appropriation, and mediocre songs. What am I supposed to reluctantly dance to during Pride weekend in the basic-ass white gay clubs? “Firework” was at least “cash in on the gays” levels of opportunistic awful, so you can intentionally dance away to your oblivion and exploitation. Katy Perry was reliably there for you if you needed a problematic bop! But this has almost nothing redeeming, except the ability to elicit bored disgust from me and a compulsion to buy Oriental rugs.
[3]

Ryo Miyauchi: Zedd injects some blood to his usually-plastic brand of EDM with steadily rocking kick drums and a ringing synth so metallic, you can sort of taste it. But the actual human connection in “365” is more soulless than the music of his peers. While the post-Purpose production might call for Katy Perry’s breathy vocals, it lands in an awkward dead zone of a mood that feels a little too cold for it to feel sincerely affectionate yet too limp for it to scan as manic obsession.
[5]

Alfred Soto: Maybe the ticking clock that’s Zedd’s aural corsage is his way of reminding listeners unwittingly of The Tell-Tale Heart. Yet for once Katy Perry underplays as if she knew what made “Friday I’m in Love” and “Saturday Love” work like mad, even if Zedd nips and tucks her voice like Joan Crawford did her face. 
[6]

Thomas Inskeep: There’s no popstar alive I loathe more than Katy Perry — really, I’d even rather listen to Ed Sheeran — so it brings me minor joy to report that this is just as shit as I expected. “365” is nowhere as good a song as “The Middle” (thinking that Zedd just got lucky with that one), and Perry’s vocal of course is obnoxious, since, y’know, she’s not actually a good singer. Here Zedd reduces her to just another EDM/pop “girl singer” presence, except that her inherent awfulness can’t help but imprint itself on the record. Oh, and said record is trop-house — how au courant in 2019!
[0]

Stephen Eisermann: Katy Perry does a good job of matching Zedd’s interesting, faux exotic, production, which is a huge step up for the embarrassing attempts at hip-hop relevance from the last album. The song is more of the same lyrically, but sonically it’s so pleasing and so clearly meant for a dance floor that the lyrics are easy to overlook. 
[6]

Will Adams: The clock ticking doesn’t work not just because the gimmick is played out, but because it doesn’t fit with the timeframe Katy’s in. 365 days is a long time, but there are those crushes, missed connections, and dying flames whose lingering what-ifs can haunt you for at least that time. In the song, this is played out in the bridge, switching from her wanting someone around all the time to thinking about them all the time, desperation mounting as the melody does the same. It adds stakes, which is more than can be said for most of Zedd’s recent output.
[6]