The Singles Jukebox

That’s Urbani… we have no idea what Rush looks like…

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[6.67]

Micha Cavaseno: In a parallel world where Pornography-era Phil Thornalley is the person who gets ahold of Madonna’s first songs, we get these slabs of hell. The song striding atop the production feels cast aside, but I’m hoping Katie finds that perfect partner for her drooling downer clubland vibes.
[4]

Anthony Easton: I don’t know why I love this so much, but it is genuinely beautiful. There are hints — how that sibilant “S” rises like steam from the wet streets, how this kind of reminds me of Madonna circa “Justify My Love,” how the vocals add texture, how artificial the production sounds — but mostly I love it because of how well-constructed it is, how fecund it sounds. 
[9]

Alfred Soto: It sports neat distortion, especially in the last third, and Rush’s affectless act is persuasive. Not dangerous, though, and it’s not love, much less luv. 
[6]

Thomas Inskeep: This is all downtown-NYC post-punk no-wave angles. This is ESG on ice with a Kylie injection. This does sound dangerous. This is electronic pop that’s neither electro-pop nor electronica, and only barely pop. This feels subversive. This sounds like what Robyn’s fans think she sounds like. This would’ve been huge at Danceteria in ’82, but this doesn’t sound like 1982. 
[8]

Brad Shoup: Rush has made a sort of dystopic take on the PC Music aesthetic, recruiting Urbani to help make a Paula Abdul gloss over melting ambulance sirens, F train bass, and wooden percussion that clops like a warning. It took a few listens to locate something more than a punchline, but I don’t think this is supposed to transport so much as cow you.
[6]

Katherine St Asaph: A surge of sound, like how music sounds a few drinks in: music for going out to, alone in streets that feel like wind tunnels and in outfits that feel like pulp-heroine costumes and in the grips of first love/first mistake, for feeling unstoppable and terrified and thrilled. It’s not quite a song for going out to, but the atmosphere’s almost enough.
[7]