And now the Russians are coming too. It really is apocalypse!
Anthony Easton: The almost unadorned beats in the middle of the song are like a pulse. The way they introduce the almost staccato vocals, and how they abstract into something squatter, squarer, filling up the space — it’s an excellent trick.
Iain Mew: With its absolutely flawless house moves, if “Nevospitannyy” was given a more pop-friendly (and Anglophone-friendly) vocalist it could probably crack the UK top 10 these days. That would also lose some of its appeal, though. The murky mumble it has got is almost as good as the nightmare-inducing video for bringing out the sinister edge to the music that helps it sink in deep beyond the surface appeal of its bubbling and bleeping.
Alfred Soto: The house elements scrupulously fall into place and the deep guttural male vocal doesn’t, the latter the right tang to a sweet dish.
Scott Mildenhall: Dance music for people who don’t feel like dancing; moody, but not monotonous — with something so subtle there’s always a danger of it being so, but it shuffles along nicely, pulsating up and down and across while Dorn himself completely avoids eye contact, even preferring to whip out his Gameboy towards the end to make sure you don’t try and initiate it, quite possibly the very man Neil Tennant sings about in “Vocal.”
Rebecca A. Gowns: Arctic-chill house, perfect as an ice cube dropped in your drink — or, if it’s loud enough, on your skin — on a sweltering listless summer night.
Brad Shoup: This is terrible to say, but I expected this to be less… tasteful? There’s something of an aural palindrome with sardonic mumble slotted between the music-box intro and those “doot doo doo”s. It’s just on this side of hip-house, but weary instead of camp. Now if only I knew what he was saying…
Edward Okulicz: My only quibble with this otherwise unimpeachable and classy house number is that it’s sung in a mumble rather than being belted out by Katy B. Otherwise, this is uncomplicated soft house-pop with a fine groove, a light but propulsive beat and a tune that sits on top to sweeten things and gets out of the way when it should.