We went so hard on her last time, we’ve decided to give her one more chance.

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[5.78]

Iain Mew: There’s a lot about “You and I” which reminds of ’00s Kylie, and in the chorus Anjulie comes close to evoking the same kind of fluid bliss as “Love at First Sight”. That just doesn’t end up counting for much because everything else about “You and I” gets in its own way. The clunky ’10s beat can’t help but thunk its way to the forefront when it really needs to be unobtrusive. Anjulie sounds more invested in showing off her dress than getting lost in the moment. “My mind’s getting dirty with you” and “some chick” come out of nowhere to muddy things for no good reason. And I refuse to believe that she really sings “the stars are loud”, because WHAT, but even just sounding enough like it to fool all the lyric sites out there is bad enough.
[4]

Edward Okulicz: Popular song title for your female singer types of late this last few years, no? Medina > t.A.T.u. > Anjulie > Anggun > Lady Gaga, though to be fair the decent score is because early 00s filter-influenced house pop is such a favourite strain of mine that I’ll give good points to anything that sounds like it could have fit on Kylie Minogue’s Fever album.
[6]

Anthony Easton: I’ve been thinking about how many ways she says “you” or “I” and how many of those are in the liminal space between human and machine, and about the extension of the vowels in “you” — how the whole thing seems to be an extension and contraction. I am not sure it’s successful, but it’s well thought out.
[6]

Daniel Montesinos-Donaghy: Those laser-synth chords in the chorus! They turn, they twist, each change a hairpin! They’re the soul of the song, an example of the urgency of joy, peek-a-booing from under standard issue oontz-oontz. Anjulie aquits herself fairly, existing to be chopped and changed as seen fit, a voice that could be anybody’s voice, which means this will be more interactive with audiences placing themselves into the song’s barely-there narrative.
[5]

Alfred Soto: Taylor Swift already recorded the best 2012 song about stars, but she and Anjulie are about as conversant in modern dance pop. Split the difference?
[5]

Patrick St. Michel: Anjulie eschews eye-rolling messages and edginess in favor of something that’s straight ecstasy. The acoustic strum opening the song is just a fake-out move, as it doesn’t take long for Anjulie to giver herself over to the dizzying chorus… and to stick with it for the rest of the track. Don’t know if the message will stick, but at least for one song she’s learned to just be direct.
[7]

Jonathan Bogart: She continues to make second-rate dance songs propped up by weird, toothlessly provocative videos, but at least on this song she’s traded in her Rihanna imitation for a Kylie/Cardigans one. The fluting head voice she uses to tackle the title phrase is worth an extra point in itself.
[6]

Will Adams: After she released two of the worst songs I had heard in 2012 — “Stand Behind the Music” and “Headphones” — I was prepared to give up entirely on Anjulie. Then I heard “You and I” and was stunned. The chorus is exuberant, with a melody that reaches for the clouds. The guitar strums are set to the perfect level of sweetness. Anjulie’s vocals mimic the breathlessness one feels in the heat of a shared moment. Benny Benassi’s steel drum synths are bright and not garish as they usually are. How is this all coming from Anjulie? It’s not perfect, what with its weak lyrics and terrible ending, but it’s a hell of an improvement.
[7]

Brad Shoup: I guess Anjulie and I are at the interbellum. I’m letting the fetishistic/played-out phrase “vintage dress” drop while pretending the chorus is daughter to Kylie’s eternal “Love at First Sight”. In return, she continues to ignore me because I’m a barely-employed opinionbreather. Peace feels good.
[6]