The Singles Jukebox

Gettin’ his Betty Draper on…

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[3.86]

Michaelangelo Matos: There’s a reason people think house music boils down to Night at the Roxbury caricature, and it’s right here.
[2]

Martin Kavka: Typical dance music for boys, ramped up by (emulated?) Hammond organ chords. It might as well be a remix of Kansas’ “Carry On Wayward Son.” Actually, that would be better.
[3]

Chuck Eddy: I was actually hoping that funeral-parlor piano at the start would stick around, thus keeping this ghostly ‘n’ stuff. But nope, it was gone as soon as it showed up. Then beats beats beats, then some brief cute hot-buttered popcorny kind of deal somewhere in the middle, then more beats (pleasant enough.) Then a spoken rant which earns an extra point for slightly reminding me of Axl Rose in “Get In The Ring” and Will To Power’s Bob Rosenberg in “Koyaanisqatsi” even if it’s really just a mocking whine about message board posts.
[6]

Mallory O’Donnell: Deadmau5 epitomizes the most stagnant aspects of big-floor dance in one handy package — readymade drum loops and two-to-five note crashes running into the factory presets on his mega-expensive synths that he will never make an original sound on. More tired than a masseuse after forty ‘happy endings.’
[2]

Ian Mathers: Yeah, it sounds like he put as much effort into the song as he did into the title. Which is as much effort as I’m going to put into this blurb.
[5]

Kat Stevens: More Scooby Doo than Hammer Horror. I like Deadmau5 better when he’s warm and airy; this feels too forced and jolly. Though perhaps I’m just being grumpy because I don’t like dressing up at Halloween.
[4]

Hillary Brown: So you’re boring. At least you know to move quickly so as not to wear out your welcome or let me notice your flaws too much.
[5]