The Singles Jukebox

Hey, I’m real scared there, Kirby. What are you going to do, suck me to death?

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[5.23]

Alfred Soto: Festival techno embellished with a vocal whose timbre is as noxious as the bass sequencer. The next producer who thinks the slow build is a novel idea should be brought before The Hague.
[1]

Will Adams: The instrumental original “Wombass” was a solid exercise in bass-based house, stretching its title instrument like taffy across twitchy beats. Natalie La Rose’s contribution is a dull exercise in music about music that’s so insubstantial I’m wondering if her charisma on “Somebody” was just a fluke.
[5]

Crystal Leww: Heldens has made two perfect pop-house songs, so it’s forgiven when “The Right Song,” which sits on top of his club hit “Wombass” with Tiesto, is merely all right.
[6]

Micha Cavaseno: Oh shit, y’all sure this isn’t The Cataracs? The minute Natalie La Rose gets to ride that rising break and those boogie synth lines, there is a remarkable edge to this song that most of the generic fillers for the dancefloor just aren’t bumping up against — no matter how helium-high they try to be, they might as well be lead-lined. What really makes “The Right Song” work is its almost flatness as a song. It works hard to find a quick peak and pushes against that as hard as it can. Not quite a roller, not quite a banger, but that rare bridger tune that in the right hands has so much value.
[6]

Brad Shoup: The bass stands like a rock climbing wall; if La Rose can scramble it she could reach that fabled right song. She doesn’t.
[5]

Thomas Inskeep: Natalie La Rose, whose singles up to now I’ve fairly thoroughly disliked, works much better as a semi-anonymous dance vocalist, because she’s not forced to deliver the personality she doesn’t seem to have. The song is your typical boilerplate post-EDM dance/pop, nothing particularly special, but it works nicely as a single.
[5]

Juana Giaimo: Natalie La Rose makes a good job joining the precise and deep electronics. Her voice can be as unsentimental as them, but it can also be liberating as it shows in the chorus. This dynamic between the music and the voice reminds me of Disclosure, but rather than building a comforting atmosphere, “The Right Song” is intense. An extra point for the violins in the second verse but a point less for the post-chorus that reminds me of this. 
[7]

Cassy Gress: I know, lyrical flow isn’t a thing that everybody in music cares about, particularly in dance tracks where lyrics aren’t necessarily the point. But instead of “you know there’s just. one. thing. I. need.”, why couldn’t it be “there’s only one. thing. that. I. need.”?  It’d sound better. Boppable, but needs a lyric edit and a remix.
[5]

Patrick St. Michel: This sort of festival pleaser always leans heavily on the vocals, and Natalie La Rose does a solid job of adding some flair to Tiësto’s music. Would sound good coming out of some massive speakers.
[6]