Woo!

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Mo Kim: JAMES BOND DANCE PARTY PLZ
[8]

Abby Waysdorf: The potential of EDM is to be pop made up of only choruses: the essence of a pop song, concentrated. It’s not something that enough EDM songs embrace, in my opinion, but that might be because it’s pretty difficult to do — how do you do it without driving the listener nuts? “Intoxicated,” though, gets it completely right. Not only is it all chorus, but it’s all refrain; all the parts that stick in your head, that you sing along to effortlessly, that you want to go on forever, strung together with properly exuberant horns (or horn-a-likes) that reproduce that feeling of knowing that chorus is coming at every moment. (They also remind me of Robbie Williams’ “Candy,” another favorite of mine.) It could go on for 3 or 30 minutes, and each of those minutes would feel like a sunny late afternoon. I’m a little obsessed.
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David Sheffieck: Maybe it’s the tennis-ball beat that starts the song, but I can’t help comparing this to “Hello,” one of the catchiest songs of the decade to date. And it doesn’t measure up to that standard, but “Intoxicated” is packed with enough hooks and production left turns to be the strongest followup to that peak in Solveig’s catalog. It certainly helps that the TNGHT brass has lost little of its original punch in the past few years, no matter who’s using it.
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Alfred Soto: Replace the synth with live horns and the singer with Juanes and I might get a good salsa track.
[5]

Edward Okulicz: Here’s a vocal line, there’s a vocal line. Then there’s a bit of piano. Then you layer them all together in the last minute of the radio edit. Oldest trick in the book, still works. Probably also works on the extended mix, too. I’m about to fly to Europe for 3 weeks’ vacation and I am so ready to hear 400 songs just like this, or this one 400 times, doesn’t matter.
[8]

Will Adams: Martin Solveig can typically be relied on for slightly silly dancepop, and “Intoxicated” is no exception. The brass samples seem intentionally clipped and placed, as if they’re aware of their own chintziness. Meanwhile, Solveig’s goofy voice leads the proceedings with a repeated, obvious line. But there’s a surprise: the breakdown, where the harmony becomes major and the central line — “You’ve got me intoxicated” — transforms from the dancefloor pick-up line it used to be into something quite sincere. But lest you get too lost in that someone’s eyes, the brass burps up again and commands you to shake your ass.
[8]

Micha Cavaseno: Could always have been ruder and brasher in the horns, slinkier in the rhythms, or just a bit more present in the chorus. Meanwhile, the falsetto part is just perfect so that when it starts to dissolve into FX, it sounds like the greatest instrument at hand within the track. So much more room to be improved, but not at all a poor attempt.
[5]

Patrick St. Michel: I’m so used to hearing songs start off like “Intoxicated,” only to break out a goofy sound or idea in order to stand out from the pack. But this is economical, making the most of a little, and it’s refreshing. And all that extra space makes the woozy “you got me intoxicated” stick out a bit more.
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