The Singles Jukebox

German trance lad keeps spinning…

{MySpace][
[6.14]

Michaelangelo Matos: Azzido Da Bass’s “Doom’s Night” became the dance anthem of 2000 thanks to a remix by Timo Maas that was one of the key templates to big-room dance anthems that balance “darkness” and accessibility, harsh squelch and familiar timbres, and made what Maas referred to as “wet percussion” a staple that still hasn’t died. Da Bass, on the other hand, has moved on. This is a zooming and buzzing little electro-house roll that gains in companionability over its length, like its shirt is coming untucked.
[6]

John Seroff: Not really much song here, is there? This identifies more as okay between track filler than much of a single.
[4]

Matt Cibula: As soon as I figure out how to gracefully complain about this being a fun funky dance track but NOT A SINGLE, I will do so. In the meantime, these crispy sounds and crafty snippets are causing me to dance about my house with wild abdomen.
[8]

Hillary Brown: Please, explicate to me why I find myself enjoying the heck out of this song, despite the fact that it’s a dance song built on the kind of tiny loop and mid-range, flat vocal I usually can’t stand. And don’t say “it’s good”. Plenty of them are “good” and I don’t like them. I want to know why this happened to get inside my brain? Subliminal messages?
[6]

Anthony Easton: Those sounds of zippers in space, the scratching, the first few moments of a single voice asking a question, and the next few moments of another voice answering it — it’s generic and clubby, except some times the machine breaks down, the automatic desire for pleasure that is endemic to the genre is atuned to a kind of failed autonomy, which, if not radical, is at least interesting.
[8]

Martin Skidmore: There is a sawing noise on this which is close to commanding, but the squelchy reversed sounds are awkward and not quite as bubblingly funky as they want them to be. The vocal is too weak as well, and it goes on too long for its limited range of ideas and middling impetus. It’s okay, but I don’t see it doing much.
[5]

Ian Mathers: I’m always a little nonplussed when true dancefloor stuff comes up on the Jukebox; they are singles, to be sure, and they may even be good at what they do, but sitting here listening to it in my room they tend to sound faintly ridiculous. “I Want U” is maybe the best example of the form we’ve seen yet — disjointed, overly repetitive, virtually nothing of interest to the home listener, and yet I can imagine this being ruthlessly effective in a packed club at 3 am, once you’ve been dancing so long that all that you care about is dancing some more.
[6]