The Singles Jukebox

Guess which one we want to remember and which we want to forget…

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[4.43]

Iain Mew: Everyone having remembered to forget Shakira’s take on the subject, here’s another one, content to let the cleverness of the title sit there and not do much with it. Miguel’s role is barely distinguishable from anyone on one of Kygo’s stream of hits, and paradoxically it’s when his voice is chopped up into a phantom calling through the fog that he stands out most and gives the song a brief and lovely sense of identity.
[5]

Alfred Soto: Kygo got Miguel to sing over his tepid electronic crap — he doesn’t need vocal frippery. 
[3]

Will Adams: Miguel’s voice is a compelling instrument on its own, so he’s a particularly poor choice for Kygo, whose defining trick is chopping vocals to evoke a disembodied yearning. This combined with the plodding stomp makes “Remind Me to Forget” the strongest evidence of Kygo’s recent coasting; he’s just feeding pop stars through a tube.
[4]

Scott Mildenhall: Miguel’s line-final open vowels are ideal for the cut-ups Kygo customarily supplies here. Imagine how much more boring it would be if their source had been close-vowel words like “you” or “me.” Instead, they give “mark!”, “heart!”, “forget!”, all swirling and rotating until they make a suggestion of “scar!” and ultimately merge into each other. That is canny writing — combining the lyrical and the non-lyrical to the aid rather than detriment of the emotion. There are plenty of ways to crack a nut, but if Kygo is to teach the world anything, it’s that even if you pick just one, there are still plenty of ways of going about it.
[8]

Cédric Le Merrer: Things start off fine enough, with minimal production letting Miguel’s singing take center stage. By the one minute mark, though, Kygo’s trop tropes have taken over and it’s getting really hard to pay any attention to the song.
[4]

Stephen Eisermann: Miguel has a wonderful voice, so it’s extremely frustrating to see him waste it on such mediocre songs. Kygo’s never really impressed with his production/music, but this melancholic take on a bad relationship is especially boring and is only as good as Miguel’s vocal turn allows it to be.
[4]

Micha Cavaseno: Really don’t understand burying Miguel’s vocal for the big chorus beneath that swamp of filters, especially over so bland a build up of tame, pared-down dance drive. But then again I honestly don’t understand why Kygo’s ever upheld as a particular standard bearer in EDM to begin with.
[3]