Sorry Alexis, but we might care more about 2 Chainz today…

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[6.12]

Anthony Easton: More of a conceptual deconstruction of what sexy dance music sounds like than actual sexy dance music, but it’s spring, and I’d fuck the knot in a tree at this point, so it will do. Extra point for making the phrase “If I could be inside you, darling” about relationships and not about happy fun times. Another point for those disco lasers.
[9]

Alfred Soto: Getta load of that wobbly sequencer.  So what though? Hot Chip always knows what to do with them. At their best (“Ready For the Floor”) they also know how to make dinkiness signify on its own; occasionally they break through into real feeling (most of The Warning). This track, however, takes its cue from the arch I-like-Zapp-not-Zappa bit. Great — another act applauding dinkiness for its own sake (although Zappa isn’t much better).
[5]

Iain Mew: A great return for Hot Chip to releasing songs which sound totally throwaway but have infectious beats that months of hard graft couldn’t better. The only complaint is that the jokes don’t match up this time.
[8]

Brad Shoup: The dark disco is back! And I still don’t care! The funky synth descents are great, a much better backdrop than that pussyfooting bassline. Points for big-upping Zapp, yeah, but why did it have to be sandwiched in such a goofy purpose statement? 
[5]

Katherine St Asaph: Too many ideas and personae: the pitch-shifting, the basso buffo; the oily sleaze bound to sneak out of bed between night and day; the oilier synth strut; the rock douche caught in the sequencer gridlock: “I don’t like gabba / so please quit your jibber-jabber / do I look like a rapper?” On the upside, this does make you feel drunk and confused even while sober. If that’s the effect Hot Chip wants, phenomenal work. It should come with coffee.
[6]

Alex Ostroff: Hot Chip are my own personal uncanny valley of dance music. All the pieces are technically there, and it’s not unpleasant to listen to, but the fact that a song can resemble dance music this closely (hell, they’re constantly nearly quoting Off the Wall-era MJ here) without ever creating an irrepressible urge to dance is deeply unsettling. Hundreds of epic space disco lasers don’t make a whit of difference if irony and archness have replaced abandon. [N.B.: The above sentence does not apply if you are the Pet Shop Boys.]
[4]

Edward Okulicz: As ever, Hot Chip make dance-like music without dance’s usual pleasures but “Over and Over” and “Ready For the Floor” suggested that at their best they are capable of pleasures that are all their own, and “Night and Day” succeeds in the same way; its groove is unusual but infectious and if it’s stolen, it’s stolen from a good source — the mutated-disco of the early 80s when Michael Jackson might have used the bass and Prince might have yowled the tune. It’s both pastiche-y and innovative at the same time.
[7]

Zach Lyon: This is sort of like if you took a Hot Chip song and removed the hook. Actually…
[5]