It’s a very Canadian mis-spelling…

[Video][Myspace]
[5.56]

Anthony Easton: Maybe this is the start of everyone else being annoyed by Sam Roberts, and us Canucks safely being able to ignore him.
[3]

Ian Mathers: Pairing a icy techno, uh, misstress with a buttrock star (at least here in Canada) is a bit of an odd match, but at least Roberts doesn’t embarrass himself. Or he doesn’t embarrass himself any more than you do just by singing “I’m running not to lose this human race.”
[4]

Michaelangelo Matos: Awww, I remember that one banging mix-CD Misstress Barbara released on Moonshine, that ’90s L.A. standard-bearer of whatever the hell it could license. Now she sounds like she’s going for the subtle crossover dollar. It’s a duet, too. Not an unpleasant one, either. But not-unpleasantness is all it has going for it.
[5]

Iain Mew: I actually had to pause and restart this first time because I was convinced that I’d somehow left The Knife playing in the background. The beat in question never quite fits, mostly because it’s the only element of the song that isn’t fuzzed into a motion blur. Their running has a lot more momentum than Lady Antebellum’s, though, and “I’m running without breakfast” is a neat amusing touch.
[6]

Chuck Eddy: Dueting boy and girl, running away from their pasts and the state of the world and toward each other, with an ’80s pop drive — so basically, this is the Great White North version of Lady Antebellum’s “I Run To You,” right? And I’m sure if Lady Antebellum had grown up listening to New Order records, they’d display the vocal charisma of this afternoon’s toenail clippings as well.
[7]

Martin Skidmore: The song is too close for comfort to Bryan Adams’ “Run To You”, but a little better than that sounds. I wish it leaned even more towards the dance end of things than the singer-songwriter end, but it’s not bad.
[5]

Anthony Miccio: If U2 had maintained the gospel earnestness of The Joshua Tree during their techno explorations, it might have sounded like this track — which is a little ironic, since those explorations were over a decade ago. But if people want to keep rewriting “Where Do I Begin,” I’m fine with that.
[7]

Erick Bieritz: Their collaborative delivery is jointly from the Bernard Sumner school of songwriting and delivery, which is, of course, a good thing. If there were any more influences on this proverbial sleeve it would rip the seams and detach from its Peter Saville-adorned body, but the hook is genuine and the odd, Hot Chip-flavored beat is quite winning.
[8]

Alfred Soto: Apolitical indie sentiments collide with tepid backing track with only the faintest of electronic hints. They won’t be coming home tonight: their generation will get it right.
[5]