The Singles Jukebox

We go :,( and then we go :,)

[Video][Website]
[4.88]Katherine St Asaph: Hypothesis: Sigma is someone’s favorite artist — those people whose favorite part of the ’90s were atrocious dance remixes. Refutation: The closest person to “those people” is probably me, and this is ass.
[2]

Alfred Soto: When Gary Barlow gets taken to the river, I thought he was aping his beloved OneRepublic records. Then Sigma inserts the stalest drums ‘n’ bass skitter-skitter over flat strings. The only thing worse than uplift is phony uplift.
[2]

Claire Biddles: I’ve been trying to imagine a situation in which I would dance to an EDM song featuring vocals by Gary Barlow and nope, can’t think of one, sorry.
[2]

Ryo Miyauchi: Hopelessness is an easy thing to use to bring people together just as it seems obvious to use drum ‘n’ bass to drive a rally cry. But like Sigma’s style of choice, it’s also easy to flatten as something loud but not much more. We all cry, yes, and I hear you, but what are we crying about? Not much that we have in common, I imagine.
[4]

Thomas Inskeep: This is just what the Take That Mk. II comeback needed: instead of some tropical house bullshit, Gary Barlow and co. team up with Sigma for a hyper-speed d’n’b/pop stormer. The drama of Barlow’s lyric pairs quite nicely with Sigma’s m.o., and I certainly prefer this to hearing Take That go back out to adult contemporary/Radio 2 pasture.
[8]

Cassy Gress: Since I’m not from the UK, I’m fairly low-exposed to Take That, but if I had to pick I’d be a Mark Owen fangirl, so I’m irrationally annoyed that this isn’t his. My annoyance is amplified by Gary’s weak-ish falsetto on the word “cry” (or “craaahhh”); I can’t say with any confidence that Mark would do it better, but this is what boy bands are for, right? I’d still happily toss this on my iPod and belt it out in the rain while slo-mo dancing in puddles.
[7]

Brad Shoup: Took a sec for the feature to catch its rhythmic footing, but they’re steady on the drum ‘n’ bass. First few seconds aside, there’s no vocal fuckery, just adult-contemporary wailing for dear life.
[7]

Scott Mildenhall: Given his sterling efforts in becoming an avuncular figurehead of the New Boring scene (and then the impenitent tax dodging one), it’s very easy to forget that Gary Barlow practically got his break singing over Hi-NRG in gay clubs. Here he is though, one breakdancer and Robbie’s eclecticism light, performing once more on out-and-out dance music. Admittedly he was doing that as recently as last year, and admittedly the chorus resembles nothing less than classic Barlow, but — hang on, this is basically him in falsetto mode over Sigma’s skeleton key, isn’t it? Fantastic.
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