Monday, August 8th, 2011

The Young Professionals – D.I.S.C.O.

The S&P downgraded the Young Professionals to D.I.S.C.+ …


Brad Shoup: Outstanding work, gentlemen. You took a wonderfully loopy Eurodisco also-ran, stripped it and rebuilt it as a grim emo floorburner. Every time Ottawan’s original peeks through, the song has a fighting chance. Otherwise, it’s sub-Presets garbage.

Michaela Drapes: Ottawan’s “D.I.S.C.O.,” er, classic, is such fertile ground for vacuous re-imagining that I would have thought that some hipster electropop cratedivers would have resuscitated it before now. Thank goodness Israeli studio nerds The Young Professionals finally got with the program.

Mallory O’Donnell: They liked Pulp a lot, they just didn’t “get” them.

Pete Baran: Many questions are prompted by this re-purposing of D.I.S.C.O. Is this as delirious, incredible, superficial, complicated and oh, oh, oh as the original? One out of five here — in as much as it is more of a superficial make-over than it thinks it is. Is it as desirable, irresistible, super sexy, cute or oh, oh, oh as Ottowan’s paean to the dancefloor? None out of five here. Have the Israeli Pet Shop Boys made a song as disastrous, impossible, super special, crazy crazy and oh, oh, oh as their sample’s source? I’ll give them at least two of these. And finally, have the Tel Aviv Erasure created something as delightful, incredible, sensational, sweetest-candy or oh oh oh? No. Which gives us an overall score of three. 

Edward Okulicz: Better as a joke than a song, and better as a piece of choreography than a joke. But if you put the Pet Shop Boys, Right Said Fred, Army of Lovers and Dead or Alive in a blender, you’d expect something messy rather than brilliant.

Jake Cleland: There’s a vague likeness here to Fake Blood’s “I Think I Like It,” and it’s definitely catchy, but I kind of hate it for its deadpan weirdness. It’s the most painful kind of earworm, the kind that makes you wish you had literally anything else stuck in your head instead, but you still kind of enjoy it anyway.

Alex Ostroff: The groove is immaculate disco revival froth that triggers each and every one of my summer pleasure centres. The vocals, however, are detached and morose when the track demands epic levels of ludicrous Scissor Sisters-esque flamboyance. The delivery of the verses is as out of place in this song as the two bland vocalists are in the midst of an otherwise fantastic video.

Katherine St Asaph: “Disco, I want to believe you, but you’ve hurt me before,” these guys say. Then they wedge disco apart with periods like toe separators, drain the substance from their voices and leach the passion from their groove so disco can’t hurt them ever again, or move anyone.

Anthony Easton: Disco should be noted for its coldness and its blankness, or at least some of the better disco has a mirror-cold sheen of hedonism that reflected the mania of its participants. This tries for the mirror, but it’s a little too much work to be totally affectless. 

Sally O’Rourke: This weekend I watched Whit Stillman’s film The Last Days of Disco, set in the very early ’80s as the once-marginalized subculture was falling victim to gentrification by yuppies swigging vodka tonics. If nothing else, “D.I.S.C.O.” successfully captures this descent into shallow posturing, where writing a song about disco replaces writing a disco song. The guitar riff is sharp enough to get past the velvet rope, but the beat’s so sluggish and the sentiment so banal that you instantly regret having let it in. Appropriately enough, this bellwether of the last days of indie disco calls themselves The Young Professionals; I guess the “upwardly mobile” part wouldn’t fit on the gig poster.

2 Responses to “The Young Professionals – D.I.S.C.O.”

  1. Up until just now I thought Hot Chip had only ever been a good thing for music.

  2. I kind of liked this one, but I’m not sure how finding out that it’s a remake makes me feel. The video is moderately great, though.