Got our heartbeats running away…

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[6.67]

Anthony Easton: The subtle hints of disco lasers and a genially manic production redeems a song whose lyrical metaphors have stretched beyond function. 
[6]

Alfred Soto: I like her more and more with each single. Juxtaposing the alphabet game with acoustic strums and video game whooshes shows production smarts, and, better, Charli shows how being in love shouldn’t be sobering: it actually makes you goofier.
[8]

Katherine St Asaph: This can’t be a Charli XCX song. Is she shopping tracks around? Was this left off Prism, maybe? Like some sort of reverse demo: lasers and crashes caked on to disguise the same Bonnie McKee intro and “California Gurls” riff.
[4]

Cédric Le Merrer: Charli XCX is always switching styles, from goth queen on “Nuclear Season” to Kitty Pryde–swiping hipster on “What I Like,” and now ironic Gwen Stefani like Harajuku fetishizer. No doubt this will lead some to compare her to Tumblr or Pinterest, either to moan the attention deficit of internet culture or to laud her canny embodiment of the awesomeness of our times. I’d much rather compare her to a Buzzfeed or Upworthy, always A/B testing to find the perfect lede for maximum clicks/shareability/whatever metric brings in more eyeballs. Here she takes her most succesful formula yet — the “I Love It” marriage of joy and destruction — and  swaps “joy” for the adjacent “love” to see if it’ll stick. It may seem like a very cynical method but I actually find her understanding of pop mechanics admirable. This is how you do hits.
[8]

Patrick St. Michel: On “What I Like,” Charli XCX spent the bulk of the song trying to be tough in the face of a relationship that was something more than usual, before showing the nervousness around the edges (the “I think I’m into you” line, mostly). “SuperLove” does not deal in subtlety — sonically, this is pure giddiness, an affection-drunk song bouncing all over the place. She’s rehashing metaphors — let’s try something besides drugs, yeah? — but she sounds absolutely smitten mashed up against the music here, and it all comes together wonderfully.
[8]

Iain Mew: It’s a Charli XCX song, so it’s all told in danger and drugs and killer touches, but “SuperLove” is a straight up love song in a way that she hasn’t quite done before. It’s an exciting prospect and she doesn’t disappoint, providing a series of emotional exclamation marks over a joyous rolling riff and snaps with something of the thrilling fast-forward intro to “What I Like” stretched to song-length.
[9]

Jessica Doyle: On the one hand: the way she seems to play with pop rhythms, changing the tempo to make you wonder how sincere she is, and then the vulnerability of “I think your hair looks much better pushed over to one side/How do you feel about me?” On the other: the orientalist video. Lost in Translation got too much of a pass for similarly using Japanese culture as a series of props, and that was a decade ago. I’d score the combination higher, but the rest of TSJ seems to love Charli XCX, and I am not here for this passing “Rum Pum Pum Pum” on the best-of list.
[4]

Brad Shoup: Quite rigid and laid out very well. Maybe this is her K-pop tune (I feel like we’re approaching “everybody gets one” territory here), or a reproduction of “Lovefool” with an added degree of difficulty. But none of it is more compelling than the hungover intro.
[7]

Will Adams: “SuperLove” is competent and pleasant, breezing by on a guitar-strum bedding and the occasional synth laser. But the edge that gave True Romance its twisted romantics is entirely absent, favoring palatability to innovation.
[6]