Myles Smith – Stargazing
[Video]
[4.15]
Jonathan Bradley: Three makes a trend, and it turns out the ’10s are back, baby! Myles Smith is riding shotgun all the way to the folk-EDM festival and he… did I just hear a millennial whoop?
[3]
Wayne Weizhen Zhang: “It’s okay to feel x,” reads Myles Smith’s Spotify bio. What an exciting, original insight, reflective of the amount of utility one might glean from this generic thumper, which sounds like a Coldplay and Lewis Capaldi hybrid.
[4]
Alfred Soto: I hear OneRepublic’s “Apologize,” hints of Chris Martin’s oat-voiced yearning, and in the combination of piano + shows of vocal soul Sam Smith’s creamy dance tracks from a decade ago. I’m less churlish in the face of Myles Smith’s generic humility as I get older. Someone has to testify on the pop charts.
[6]
Taylor Alatorre: Wake Me Sister Up Top Counting Will Go By Gone Paradise World Let Ho House Soul the On Home Talks I of Hey Hey Gone Her Little Drive Wait Lego Riptide Stars Gone Home. (English translation: “Accept the truth of Eternal 2013 into your heart today.”)
[7]
Katherine St. Asaph: I realize it’s hypocritical to praise Shinedown’s remarkable recreation of 2004 but criticize Myles Smith’s remarkable recreation of 2014, but christ.
[1]
Brad Shoup: It’s fucking cryogenic, isn’t it?
[5]
Harlan Talib Ockey: Close enough. Welcome back, “Budapest” by George Ezra.
[4]
TA Inskeep: Mewling post-Sheeran nothings — of course it’s big.
[2]
Mark Sinker: Lovely voice, and the song does good work with that — but that’s all it does really; as melody and story it ends up at just one pleasantly unexciting level.
[5]
Ian Mathers: It’s for the best that this was a lyric video so that I could be immediately disabused of the notion that he sings of the two of them as “intertwining songs” (it’s “souls” instead, much less distinct and lovely; oh well). Still, if we’re going to continue to try to fill every single niche between the ballad and the dancefloor, this feels like a relatively productive mutation.
[6]
Nortey Dowuona: Songwriter Peter Fenn, during a 2018 interview with Vogue LA, mentioned that he’s scored commercials for “Dr. Seuss, Thumbtack, Red Cross, Baptist Health Care, and Dropbox” under the Sunny Productions banner. (The website no longer exists.) He also wrote this light, soft gem. Please take a chance on this guy — he’s very talented and capable of making soft cotton-candy guitar pop. Do not judge him by this.
[5]
Jacob Sujin Kuppermann: Every part of this is rote; the verse melody recalls “Heart and Soul,” the chorus Avicii. This is the music that remains when all creative choices have been removed from the songwriting process. I feel nostalgic for Benson Boone already.
[2]
Scott Mildenhall: The song of a Southgate summer; a man who would pick this for Eurovision if he could. Once more, his pragmatism would prevail — it would finish fifth, bewildering all who see only a barren display. All the stars have gone missing, and that in itself is remarkable. It’s an achievement to write something so cosmically vapid, but this is what they train for.
[4]
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