Beaty!

[Video][Website]
[4.86]

Iain Mew: “Greyhound” doesn’t exactly go like a greyhound. It’s more like a juggernaut. After “Antidote” it’s also further proof that SHM’s previous pop moves and high profile guest vocalists were just to smuggle them into a position to put hard instrumental dance music back into the charts. As long is it’s all this kinetic, I don’t mind too much.
[6]

Sabina Tang: Burning Man being evidently too democratic for the Panem government’s appetite, the Capitoline sophisticates took over the salt flats to guzzle pink sci-fi cocktails (i.e. grapefruit vodka) and… race robotic greyhounds… remotely controlled by DJs…? Or perhaps Axwell/Angello/Ingrosso’s extensive experience with turntable interfaces was what landed them the plum job when they found themselves stuck in dystopia. Sadly, I prefer my fanfiction to the track, which doesn’t rev or growl as the occasion permits. It features generic trance riffs, no bottom end to speak of, and a stuttery hook that sounds menacing but is oddly difficult to dance to.
[5]

Jonathan Bogart: Workmanlike dance tracks have had videos that are more noteworthy than they are forever — there’s only one reason anyone remembers “Weapon of Choice”, and it’s not the music — but I sort of appreciate the way the “Greyhound” vid doesn’t even pretend not to be an ad for Absolut Vodka, because it’s a great ad. Unfortunately, without all that goofy-giddy imagery, it’s a pretty dull song.
[4]

Brad Shoup: Musters a decent progression midway through, an achievement roughly on par with finding a clear stall in a club bathroom: eventually, it was bound to happen.
[1]

Anthony Easton: This makes me happy. The tom tom heart beat drum, the skittering beat, the almost paranoid element to the whole mess, the elegance of the propulsion, the glory of the push forward, the sleekness tearing down a greased track, beautiful and willfully aggro in all the best ways. 
[9]

Katherine St Asaph: Pulses and squelches well and professionally enough, but then it decides it can be pretty. Then it struts up, wearing its trance synths like a too-eager smile and shedding its purpose, and it’s just embarrassing.
[5]

Alfred Soto: It has a sequencer and fart noises, which means the kids’ll love it!
[4]