Monday, January 30th, 2012

Redlight – Get Out My Head

Not about the Day of the Dead…


John Seroff: Possibly the only good thing about the current Guettaization of pop is that bare-bones SNAP! throwbacks shine that much brighter in comparison. “Get Out My Head” is far from groundbreaking, but it does what much good dance music does: it supplants the critical urge with fast twitch response and mindless disconnect. You guys can go ahead and talk this one out, but I’m going to the bar; anybody want anything?

Alfred Soto: Not having heard keyboard vamps like this since house music finally soaked through the pop chart in ’91, I was predisposed to like this, and I do — the kind of tuneful anonymity which formed the soundtrack of my early clubbing days.

Edward Okulicz: This puts the JX in Basement Jaxx.

Michaela Drapes: Tidily massive, with nothing to spare, this begs to be pulled and stretched and manhandled into something messy and sprawling and a thousand times more epic. (Oh, hey, thanks Joker.) Which is not to say that the bedrock foundation itself isn’t remarkable on its own, but a little more skronky, knob-twisty embellishment wouldn’t hurt to help this sound a little more modern.

Brad Shoup: Fun fact! When you translate the introductory tapping into Morse code, it spells out “TIME FOR CURRY”!

Jer Fairall: The use of what has traditionally been a standard mid/downtempo house synth pattern in a track that frantically accelerates and abruptly decelerates at random whim lends the whole thing an volatile sense of momentum, but it is still a patchwork made out of standard, well-worn pieces. Will undoubtedly sound far better in a club setting, where nuance and unpredictability are rarely a concern.

Katherine St Asaph: I keep wanting to make a (probably inaccurate) comparison to Katy B, because I hear in this what I heard in “Katy on a Mission”: dance that’s sinuous, not overbearing, made less for clubs than the night streets you could escape to.

Anthony Easton: Obsessive, and the speed between the chaos and the calm is breakneck. The erotic megalomania found when others colonize your own imagination — and deciding whether to give them permission — is well-encapsulated here.

Iain Mew: “You just don’t know how much you messed up my flow”. I don’t know, it sounds pretty good to me.

Jonathan Bogart: The basic, minimal thump of the song is a bit disappointing after the music video, in which Mexican Día de los Muertos festivities bring out a lot of the kind of cultural specificity that the music could have used. I guess I don’t fully understand why you would need to shoot “on location in Mexico!” as the official website gushes, when the end result sounds like you never left your Bristol studio.

One Response to “Redlight – Get Out My Head”

  1. JBogs, the dissonance of the video vs. the song also left me kind of confused, considering, as you say, there was absolutely no congruence between the two.