Is the vocal in C?

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[4.80]

Scott Mildenhall: Going by just Lilly Wood in the UK, which is for the best, post-Wankelmut. Like Wankelmut, Robin Schulz is clearly a doyen of what no-one seems to be calling “Waves”-wave, and by its very nature that can strike as dull, if a fine balance isn’t hit. Where Mr. Probz sounded legitimately, compellingly broken, Nili Hadida is hammier than the London Borough of Newham, and not even in a “WHAT ABOUT ELEPHANTS?” way. It’s all a bit too soporific.
[5]

Micha Cavaseno: More like lullaby in ZzZzZzZ….
[1]

Katherine St Asaph: More adventures in escaping the PR/blogs/hype/filter-algorithm recommendation matrix via quasi-legal Google hacks! For some reason, searching for mp3 indexes likes to return French directories, and as loath as I was to download something sound unheard with both “wood” and “prick” in its name, Lilly Wood & The Prick turned out to be pretty good! The problem with this method is that all its resultant bands basically do not exist outside my mp3 folder, which makes it quite the shock when one of them hits No. 1 basically everywhere in Europe thanks to the au courant remix sound du monde. The house drums are like sugar over Lilly’s pill, and I’m into it, almost as much as this twisted solipsistic underdog story.
[7]

Alfred Soto: That gravely Kim Carnes-esque voices hops and skips over a melody plucked over a guitar. The romantic sentiments are nice but a special eyebrow raise goes to the bit about children starving — I mean, what?
[5]

Patrick St. Michel: You got defeatist mumblecore in my pensive acoustic-electro! Please stay away from me.
[1]

Anthony Easton: The gravitas of the lyrics, and the delivery of that gravitas fail to rise over a generic house-ish production, made even weirder by the self-aggrandizing shift from the personal to the global.
[3]

Luisa Lopez: Loss comes in a lot of different forms and there is a song for each one. Most of us are outraged at the end of love and this is the kind that often seems most deserving of a symphony, as though we were meant to be big enough, our hearts meant to be strong enough, to warrant a choir. Resignation is significantly less sexy. Carrying the burden of rage long after it is pretty is a good bass line, at best. But here, wonderfully, emerges a withering candle postscript that sounds like the end of the world, the way the lyrics meant it to, the way the shock of love retracted can feel like a wave descended upon our city and our home, like a letter that never came. Hey, when seas will cover lands / And when men will be no more / Don’t think you can forgive you.
[10]

Iain Mew: Robin Schulz goes right back to the Wankelmut approach of gnomic folk-rock wedged into the service of giving a feeling of deep meaning to a dance track. It works better not through any great craft on his part, but because the original was already well designed as gnomic and he leaves a lot of it well alone. He even lets some of the woodwind bits seep through at the edges, although I only noticed that pretty detail on comparing the two.
[6]

Megan Harrington: Whenever I need to put my life in perspective, I look up the weather on the other side of the world. I’m up in the Northern hemisphere, so Sydney is my go-to city for sending my brain to opposite-world. Today we are sharing the exact same weather and it’s perfect for “Prayer in C.” The end of their mild winter is the end of my mild summer, it’s pleasant but tempered. A little melancholy guitar meets a beat you don’t have to dance to and Lilly Wood sings about breaking up or staying together; it all depends on which side of the world you’re on. 
[7]

Brad Shoup: I’ve already cast my vote against this light dance/guitar-cradled-on-the-knee thing, so I don’t care if Nili Hadida sounds like Suzanne Vega after a screaming match. This putters like a mixer on low: I understand a lot of people pray in the kitchen, but then they dig into a meal.
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