The Singles Jukebox

Been listening to the radio, she has…

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[5.00]David Sheffieck: Disappointingly generic for Kylie, with “I’m still here holding on so tight” only the first in a string of lyrical cliches and the strings that follow shortly after one of many weak production choices. This is a solid song, but it’s a solid song from someone we all know is capable of greatness – and someone whose last single was a delicate and strange departure from the dancefloor that prominently featured múm. I didn’t expect “Into the Blue” to be a continuation of the sound she explored on “Whistle,” but I expected at something least slightly in sync with its sense of adventure: “Into the Blue” is catchy and Kylie’s vocal is typically strong, but everything else here seems like a decision was made to avoid taking anything approaching a chance.
[5]

Anthony Easton: I am impressed at the sheer longevity of Kylie’s career, and how her shifts have been relatively gradual. There is an argument here against the radical or the chameleon, as well as the oldies nostalgia circuit. But I wonder if the latter really exists.
[7]

Tara Hillegeist: Considering she’s done so well at retaining her name as the queen of exactly where that strain of popcult you may as well call “electropop” has been and gone for so very long, it feels very strange to say this, but I’m pretty sure Kylie Minogue’s farts are more listenable than her attempt at mimicking Ke$ha and Katy Perry on “Into the Blue” turned out to be.
[2]

Alfred Soto: In 2007 the syncopated electronics would have suited the times, and to Minogue’s credit she ignored the times and released “2 Hearts.” Now she plies this generic EDM with little but the memory of a polyurethane insouciance.
[5]

Brad Shoup: As a more modest take on “Unconditionally” (thanks, Jake; that was killing me), it’s already a winner. Not so much as the union of classy strings and EDM headache. She slipped from blue back to RedOne.
[5]

Megan Harrington: My assumption is that this was greenlit as the single based on its compatibility with the greatest number of radio formats. You could play this before or after almost anything and be assured its algorithmic blandness would never nudge your listener back to consciousness. But radio, pfft, right? So how many Beats Music playlists do you think this qualifies for?
[5]

Scott Mildenhall: Strings! An instrumental version of this alone would work very well, the sort of thing that would be perfect for round-ups of all the latest curling action in Sochi (likely dull, given it will of course have to be played to Russian “tradition”), but the glory of the chorus and its swell into the title add something vital. The standard issue First Phonics space-fillers are a slight drawback, and some of the verse lyrics are a bit lacking, but that that’s so easy to overlook says a lot.
[8]

Will Adams: “Nothing to lose,” indeed. With such little risk taken, there’s virtually no payout. Pretty melody, though.
[5]

Katherine St Asaph: Sophie gets the drippy late-career languor, Kylie gets the backing vocals from a Cobra Starship demo. Does longevity count for nothing anymore?
[3]