I still say the Aaron Carter version was scarier.

[Video][Website]
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Jer Fairall: Has the hook of the old Jets song without the nuance of connecting tissue to add any sense of dynamics or any feeling of a payoff. Has all the weightlessness of bubblegum pop without the giddy junk-food high that comes with finding empathy in so adolescent a text as a three minute pop song.  Has all of the visceral sensation of periodically having a dentist drill shoved into your brain via the ear canal without the sweet relief that eventually results from the severing of the central nervous system.   
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Brad Shoup: This is some sub-Girl Talk recontextual nonsense. The drops are shit, too.
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Alfred Soto: I wasn’t much cop to The Jets, not when every Miami boulevard in 1985 could boast a freestyle artiste whose singles didn’t regularly graze the Top 40 (I was friends with a girl who used “Make It Real” as answering machine music though). If the original “Crush On You” deserved a B+ for a breathy vocal that, like the most powerful freestyle, flirted with hysteria, Nero’s cover foregrounds the obvious and kills the emotion. Imagine a nimrod restaging Hamlet around the idea that since the play is “about a prince who can’t make up his mind” Hamlet must spend three hours, brow tortuously furrowed, leaning against the walls of Elsinore, not saying a word.
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Ian Mathers: I actually liked the last two Nero songs we covered. But crucially, both “Guilt” and “Promises” had a certain kind of crushing, darkly gleaming majesty to them; from the title on down, “Crush on You” is less portentous, which doesn’t actually work for these guys. The video tries to make things creepy by dint of tossing in a bunch of different horror movies, but it’s not enough; by the time a particularly egregious example of the Unnecessary Dubstep Breakdown swallows the track, I don’t want it to come back.
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Kat Stevens: Daft vworp-step with an excellent schlock-horror video of demonic schoolgirls exacting a spooky revenge on a floppy-haired cad when they find out he has secretly been shagging ALL of them. Bad luck me old mucker! It’s enjoyable enough but Nero clearly haven’t spent more than 3p on the noises for this one.
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Iain Mew: I’d never heard The Jets’ original before, but listening to it confirms exactly what I’d expected – the singer doesn’t sound nearly as crazed as when isolated and repeated for Nero’s version. That’s actually the nearest trick here as the rest of it is entertaining but routine dubstep-as-sonic-ambush.
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Katherine St Asaph: Nero’s already made one eminently useful crush song: it’s one part of why I don’t use last.fm. Here’s the teenpop dubstep version. You know it’s teenpop because the post-teen response to “you found out I’ve got a crush on you” would be “hey, cool, now we can get together maybe,” whereas the t(w)een response is more likely “LIFE. OVER,” with vocal cords replaced by nerve endings and homeostasis replaced by turmoil that, if recorded, would sound like this. I’m no tween and would prefer more electro jitters than quasi-wub, but who knows kids’ tastes nowadays?
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