Dance yrself maclean…

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[6.57]

Scott Mildenhall: Disappointingly not a cover of Lionel Richie’s erstwhile local radio staple. Wouldn’t you rather listen to that? For one thing it’s less than half as long, meaning you can play it twice in the time you can play the Maclean track once, and it bears repeat listens far better than that could ever hope to. He’s just so happy! So “glad to be around you”! Nancy Whang, on the other hand, does not sound like someone you would want to be your destiny; a grating presence among a few nice ideas that get less interesting as time goes on — and that it certainly does.
[5]

Alfred Soto: Until Nancy Whang opens her mouth this sounded classic. Her voice is too thin to hit those high notes.
[6]

Josh Langhoff: After Nancy Whang submits her vocals to the digital blade of The Juan, she broods over the same set of five pitches so that we hold them in our ear all at once, a cluster smeared over time. (For reference, think a vibrato-less Barbra singing “colors of my mind” in a different key, over a different bass note, over and over again, freely improvising among the notes.) (Or don’t.) This smearing turns explicit when Whang hits the title phrase, lifting her lowest note up the octave and streeeeeeetching, before her voice recapitulates to the digital knife.
[8]

Will Adams: So much deep house is content to stay lush and glassy. On “You Are My Destiny,” Nancy Whang’s imprecisely double-tracked vocals surprise by adding edge to the pillowy chords. The lyrics, which would have sounded trite with a warmer vocal, become menacing. The climax is the kicker, when the title becomes its own sample, stretching out across the beats. Were there only clubs near me that zeroed in on this wonderful sound.
[9]

Brad Shoup: I’ve been so damn loopy for two weeks. This’d be a good test for sleep deprivation, cos the thought of drifting off to this at full volume sounds wonderful.
[6]

Jer Fairall: Burbles and snaps like an ’80’s-era Madonna remix, complete with a lyric and, especially, a titular sentiment that could have been cut and pasted straight out a lost Madonna (1983) album track. Which is to say, a wholly pleasant and not at all boring eight minutes, but my compulsion is still to reach for the more immediately pleasurable source that, in this case, isn’t there.
[6]

Iain Mew: The comeback delivers almost completely on their trademark sprawling euphoria. Both the synth shuffling and Nancy Whang’s vocals are great, the latter building from teasing flickers to the central driving force later in the track. The track is only let down a little by the title line. It’s not just that it’s no “launch me into space!” (because what is?), but that invoking destiny gives an already settled feeling that undermines the urgency and agency of what’s gone before.
[6]