The Singles Jukebox

And that’s our handclap quota exhausted for the year and it’s only halfway done.

[Video][Website]
[4.44]

David Sheffieck: It’s like, how many more handclaps could there be? And the answer is none. None more handclaps.
[4]

Micha Cavaseno: I don’t think you could work harder at having a greater mass of bad pop parts here. The bridge is weak and pointless, this beat doesn’t slump as much as it just sort of rudely distrupts any chance of a vibe, and I swear they’re trying to lie to me and say that terrible breakdown is a chorus. Not to mention at no point are the lyrics… anything. If you wanted a good idea of a sort of unabashedly deluded parody of pop, you’d get it right here.
[1]

Alfred Soto: I listened to it six times without getting a grasp of it. Its mid-’00s-Destiny Child indebtedness lacks verve, imagination, spirit; “Touch” plays like listening to a vocal-free demo of “Lose My Breath.” 
[5]

Iain Mew: The strobe-lit dancing chorus is clever in the best way. Even when some of the rest of the song gets a bit directionless, that moment is always just around the corner to save it.
[7]

Thomas Inskeep: “Touch touch touch touch touch touch,” she says, while the synths pop and lock. 
[5]

Cédric Le Merrer: Imagine Tambourine with 60% less things going on, and at a slower pace too. Turns out you still have plenty happening, plus you’ve left some room for an actual melodic vocal performance. On this front Anda delivers, acting as the adult in the room. She’s sexy but not thirsty, sure of herself and of her charm. All of this is, by the way, exactly the opposite of the supposed “manic” quality indiscriminately ascribed to all k-pop by people with questionable ears.
[8]

Will Adams: Is this even a song? It just trudges along with its half-assed handclaps until the chorus, which immediately crosses the fine line between hooky and repetitive. But the worst comes with what I can only assume was supposed to be a drop: no dynamic change, no change in texture other than an awful synth-kazoo lead, and nothing inspiring me to feel anything other than powerful boredom.
[2]

Edward Okulicz: Most of my interest in this song comes from how impressively the video rips off Fiona Apple’s “Criminal.” Because, really, just going touch touch touch touch clap clap clap clap touch touch touch touch until all hope is lost over some damp squibs of bass is a right slog.
[3]

Patrick St. Michel: More like a “Touch” overboard, if you ask me. The verses are solid clap-a-longs, and that bridge adds a bit of sweetness to the song, but the “drop” or whatever is covered in dust from 2010.
[5]