love are mildly positive about the ’90s…
Anthony Easton: Tight little disco rave up: could have come straight from an off night at the Paradise Garage, which I know sounds like an insult, but an on night at the Paradise Garage had some of the best music performed in that decade. So, you know, it’s still a pretty tight compliment.
Jonathan Bogart: Classic early ’90s house is something I don’t think I’ll ever tire of. The way this ebbs and flows between pooling reserve and keening ecstasy is just an intellectual justification; what really gets me, what always will, is the trad piano line.
Jonathan Bradley: It’s the breakbeat that stops “Fever” from passing for a relic of the early ’90s it so meticulously works to recall; something about those drums disrupts the chrononautical effect of the house piano and Elisabeth Troy’s expert recreation of diva wailing. Perhaps I’m simply not yet jaded to the possibility of mining that era, but this update sounds vivid and invigorating: a contemporary re-creation of the liberating feel of the original form.
Iain Forrester: Inoffensive, and there’s a flicker of excitement towards the end when the beats get stepped up, but for the most part this feels way too small time and unambitious to me. Elisabeth’s showy, if not particularly stunning, vocals make that all the more apparent, as the music never has a hope of matching up to her.
Brad Shoup: There’s no real propulsion here, more like futile attempts to drag Troy’s throwback diva pipes down with production choices. A dancefloor tone poem, if that dancefloor is in the window display of Wet Seal.
Alfred Soto: Serviceable post-house track that wouldn’t have caused a shrug in 1992.