The Singles Jukebox

It beats the alternative of you singing us to sleep, so, sure.

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[3.71]

Katie Gill: In a gentle voice: Sing me to sleep now, sing me to sleep BAPBAPBAPBAP BRRZZT BRZZT WEEOOOOHWEEEEEEEOOOH ELECTRONIC WIBBLE NOISES. How about no?
[3]

Alfred Soto: This combination of gormless and electro festival set complacency deserves congressional investigation.
[3]

Iain Mew: “Faded” looks all set to inspire its own sub-genre, “Animals” or “Waves” style, so it’s a good time for Alan Walker to smartly iterate on it. There’s the same chilled fizz at the heart of “Sing Me to Sleep” but he has it rear up in much more exciting ways, the electro bursts almost ending up sounding like Anamanaguchi. Whether Iselin Solheim’s part was actually more built in than her addition to an existing track for “Faded,” or she was just inspired by the better track, she adds a lot more too, from initial tension to the forlorn steel in the title line.
[7]

Thomas Inskeep: If you’re gonna title your song “Sing Me to Sleep,” you’d better fucking be doing an interpolation of the Smiths’ “Asleep” instead of some wispy EDM-pop plinky-plonky bullshit. And in case it wasn’t obvious, this is the latter. I loathed Walker’s previous single, and this is worse, far worse. One of the year’s worst, in fact. 
[0]

Cassy Gress: This would be a [6] if not for the chorus — the first time we approach it, accompanied by Iselin Solheim’s wispy vocals and the lyrics “anywhere, anytime, I would do anything for you,” the song is firmly in a thrumming, ominous E minor. So, if you’re me, you think of the title and smile to yourself, thinking, “oh, maybe it’s going to be a creepy ‘sing me to sleep’!” But in the chorus suddenly it’s a childlike song, innocently resolving into G major, like a real lullaby in search of a celesta. The second time through the chorus, it doesn’t even bother with the ominous bit, and the only acknowledgement that part even gets is its lyrics getting all cut up at the end over an electronic riff that sounds less like a stalker and more like panning over a big city at night.
[3]

Edward Okulicz: The vocals code “shiver” more than “quiver,” and they don’t go with the big slabs of plinky bosh. Iselin Solheim is a good Ellie Goulding equivalent, but it’s all trembling and no feeling.
[5]

Will Adams: The swung verse that opens “Sing Me to Sleep” had me curious if it would actually turn into jumpstyle, which would have been corny as hell but perhaps a bit more inspired than the generic midtempo uplift that occurs.
[5]