The Singles Jukebox

Dance collab getting everybody fired up…

[Video][Website]
[5.11]

Will Adams: A Jock Jams track refreshed for the ’10s and turned up to 11, Wiley quoting “Hollaback Girl,” and Trina delivering my favorite hip house moment since “212”: we’ve reached peak workout pump-up music.
[9]

Cassy Gress: I am always here for songs that make me dance involuntarily — I love how very, very rhythmic Wiley and Trina both are here, and something about that sound on beats 3 and 4 sounds like a processed lion roar. Trina’s even got a “Caught Out There” pitch going on in parts. It loses energy a little bit when Trina starts singing, but luckily picks that boom right back up again. This goes out to the ladies who-o-o-o like to get down in the club no hassle.
[7]

Micha Cavaseno: Nowhere in my many ideas of dream collabs for Wiley was the image of William mirroring the melody to “Hollaback Girl” over the most generic sort of fidget-house, with Trina alongside him shouting “Turn Up”. That said, Trina is astonishingly good on EDM approaches, and I think Pitbull should contact his old friend for the next album so she can get a nice and healthy supply of feature money over the next few years.
[3]

Jonathan Bogart: Big, dumb, and — from two rappers who can obviously spit fire — surprisingly low-energy.
[6]

Alfred Soto: Everything I decried in the Tiesto single reviewed today: varispeed, phony climaxes, vocals as human as a French press. Calvin Harris sounds like Little Louis Vega.
[1]

Thomas Inskeep: Wiley and Trina – Trina! – issue a rave alert, which only gets to about half of the city. Blame Gartner, as Wiley and Trina give you exactly what you (should) want.
[6]

Brad Shoup: I know, I know, but this would have been a great Trina-only showcase. I dunno if Wiley is a more current name, and thus a hedge, but is there any doubt she would have fucked that hook up? Gartner’s marching tempo and laser synths trounce Wiley, but they move to accommodate her.
[6]

Crystal Leww: Electro house has always chosen vocal collaborators that lean towards the hip-hop bent of pop, and Wolfgang Gartner, in particular, has been pretty consistent with that trend. In 2011, his album Weekend in America grabbed Eve, will.i.am, Cam’ron and (my personal favorite) Omarion for vocals, and he’s returned on “Turn Up” with the assist from Wiley and Trina. Alas, in 2016, even Wolfgang Gartner has abandoned the drops that made electro house fill huge rooms with big moments, but little has changed for the rest of the production. So “Turn Up” ambles along for three minutes that feels like an eternity in a loud, obnoxious, and pointless way, and Wiley and Trina add additional noise instead of texture. Not all dance music with hip-hop vocals these days sounds this ridiculous — Tkay Maidza is doing revelatory work that feels like the natural progression from Missy Elliott’s own electric hip hop. But “Turn Up” is what it feels like when the club’s lights go back on and there’s only one drunk bro yelling “turn up!” to no music. The best EDM grew up and went home to house; this didn’t.
[3]

Iain Mew: This shit could do with being more bananas.
[5]