Who remembers Kosheen…?

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[6.29]

Hazel Robinson: I know this is from the Lucozade For Girls advert but by god it’s great. If I necked a glucose drink for every time I’ve listened to this while running, my teeth would have fallen out, but, fortunately, stonking beats remain sugar free. It’s so good to hear Sian Evans on something again I don’t care how cynically it’s designed to be added to gym playlists.
[9]

Michaela Drapes: Pretty perfunctory sporty drum’n’bass banger; if I didn’t know better, I’d accuse this of being written specifically for that Lucozade commercial. (Oh, hey, look — it was!) Then again, if I didn’t know better, I’d also accuse this of being 20 years old, too. The only hint of modernity is the super-compressed build up, but I just attributed that to the time constraints of a 90-second advert, rather than any acutal sonic innovation.
[4]

Jer Fairall: Accelerates to appealing whiplash in its final seconds, but so much of this is buildup to very little payoff, like a mid-90s Night at the Roxbury club thumper that never finds its head-bobbing hook.  
[4]

Iain Mew: Reminds me in some way I can’t entirely place of “Lola’s Theme” — I guess it’s the unstoppable uplift of the chorus in each case, although this one does it with a harder edge behind it, daring you to deny that things are going to get LOUDER, STRONGER, BETTER. The way that the music actually goes and does all of that at the end (plus of course HARDER and FASTER) is glorious.
[8]

Ian Mathers: The intro to this had me ready to throw up my hands and ask the more knowledgable to explain to me how to differentiate between good and bad Eurobosh. But then the surprisingly satisfying, grinding chorus kicked in. So I guess that’s how?
[6]

Jonathan Bradley: It’s perhaps my only periodic interest in the genre that leads me to conclude this, but the marriage of massive warehouse synths with the slow menace of a dubstep beat seems ripe with lowest common denominator possibility. I’m reminded of the speedway roar of old school Jukebox fave “Tous Ces Mots,” but also the ’90s cheese of Snap’s “Rhythm is a Dancer.” Neither of these are bad connections, though “Louder” is too one-dimensional to recall them entirely.
[6]

Katherine St Asaph: Part of this sounds like Chase & Status; part of this sounds like LMFAO. Which part you prefer depends on whether you think the Brits or the Americans make better idiotic dance music. Need persuasion? Notice who DJ Fresh emulates for the part that counts, the chorus — it ain’t Redfoo.
[7]