The Singles Jukebox

What do you mean, UK garage is back?

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[6.88]

Jonathan Bogart: Skeletal glitch-pop is both really easy to do and really hard to get right. This lot have the advantage of working off of one of Janet Jackson’s best themes.
[8]

Will Adams: “You and me will take control,” Ria Ritchie breathes into your ear as if she’s standing right next to you, reminding everyone that love is a two-person game. That alone is noteworthy, but with lovely 2-step that alternates its setting from an echoing stadium and a claustrophic house party, this feels like that moment when you lock eyes with someone a few feet away on the dancefloor: the tacit realization that the night is just beginning.
[8]

Brad Shoup: All this talk talk talking is getting in the way of the bliss, which admittedly offers a similar ambience to a bottle-service club’s aquarium.
[3]

Alfred Soto: Pure bubble pop electric, thanks to Disclosure’s elastic beats and Ria making like 2004-era Ciara.
[7]

Hazel Robinson: This is really great- airy and frothy at the start, then the stuttering’s transplanted to a bassline so smooth it’s ridiculous. ‘Control’ is the right word- everything here is measured and calculated but it never drops its sense of fun and the knowledge that for all the stuttering trickery, it’s a song to dance to try and make people want to fuck you. 
[9]

Patrick St. Michel: I’m a complete sucker for this type of dance-pop hybrid, the sort of music that can turn woozy synths and pitch-shifted vocals into something gorgeous.  I really like a lot of individual details here – the soda-shop pops, the bass, Ria Ritchie’s voice – but what puts “Control” over the top is the point a little over midway through the song where everything slows down a touch and turns especially bright…only for the bass to zoom back in.  I could listen to these individual noises for a long time – Disclosure turning them into a catchy song just makes it better.
[8]

Anthony Easton: The analog percussion and digital effects combine in interesting ways but not interesting enough to cover for the tepid vocals or cliched lyrics. 
[5]

Edward Okulicz: This really repays listens on some good, loud speakers to better hear the disparate elements, because it’s quite impressive how all the sounds move in different directions yet gel nicely — the beats bounce and pop, the bass is a bit seasick (in a good way) and the vocals dart across with speed and otherworldiness. The distorted “control” over the chorus is a disappointing annoyance — turning Ritchie’s slickness into ugliness, and to no real effect.
[7]