Next year: a spin-off ambient project featuring Ma Droney…

[Video][Website]
[4.89]

Mallory O’Donnell: House music has been so thoroughly discredited at this point that it seems churlish to raise a hoary hand in defense of it, but here we are again: this is a well-crafted slab of mediocre churn, full of factory patches, replete with radio-indie-friendly touches. It’s alright, but I won’t be awaiting with bated breath the follow-up by Breakdown Betty & the Snaredrum Steves. In the beginning there was Jack, and in the end we were left with jack.
[4]

Jonathan Bogart: Their name is certainly apropos.
[5]

Brad Shoup: A: Drumsound & Bassline Smith. Q: How did Roni Size check into hotels circa 1997? The name’s not helping distinguish this soggy, modern-rock-leaning d’n’b track. Definitely could have done without the Guitarstrum.
[3]

Will Adams: This is about as subtle as the massive sunburn I got last week, but who am I to refuse floaty drum ‘n’ bass? The title gets stretched across the churning beats, and those tiny appoggiaturas are like surfing a ten-foot wave. The breakdown offers the perfect respite, bringing you through the final chorus as the dawn breaks.
[7]

Katherine St Asaph: Between the videogame underground-level synth riff, the plaintive plea of a vocal and the drum-and-bass threshing it precedes, this might be the dreariest instance of “we made it through the night” on recording. Which would be truer to life, at least. 
[7]

Anthony Easton: Sounds like the video looks, and the video looks like Ryan McGinley’s B-roll. You can extrapolate the demographic from there. 
[4]

Iain Mew: Are they sure that’s Tom Cane and not Tom (from) Keane? The song is drum and bass as MOR, smooth but featureless even once it gets into its rhythmic stride. It doesn’t sound like there was much to make it through.
[4]

Alfred Soto: Listening to this after an hour of Jessie Ware and Portishead, I was ready to brace open-throated longing in torch song mood. The circa-1998 drum program wasn’t.
[4]

Edward Okulicz: No knock on the song, but in the 90s, drum ‘n’ bass sounded so complex, like you’d have to have your brain thinking double-time just to compose, let alone play it. Maybe it’s me that’s changed, but this really feels incredibly basic and hackish; the programming seems pat, and the juxtaposition of the Sensitive Indie Pop Boy and the beats is pure gimmickry. Pleasant gimmickry, mind you.
[6]