SMASHING YOU IN THE FACE! WITH FEELINGS!

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[4.90]Patrick St. Michel: At least Zedd’s other singles were easy to chart — for whatever stadium-courting drama was within, dude’s songs all follow the same soft-build-loud-again formula. “Find You” does too, but the beat programming sounds clunky before Zedd says “screw it” and just lets it rip, while two singers seem like too much to juggle for the guy. A typical Zedd song, but sorta awkward.
[3]

Edward Okulicz: “Find You” wears its lowest-common-denominator EDM cliches about as well as it does its completely obvious lost/found/love/love/touching/awesomeness/BELIEVE IN ME rhetoric. The combination of both is infuriatingly effective; my initial reaction to this chorus was one of involuntary head-bobbing and then pumping my right arm towards the sky even though the sky was blocked by the ceiling above my workstation. Now I just want to go out and have a made-for-TV eyes lock across a crowded dancefloor moment soundtracked by the moment where the backing vocals swell across the title.
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Anthony Easton: At first I the only words I could hear were “drinks for two,” and this little bit of small pleasure worked against the anonymity of the production, and then i realized it was “dreams for two,” and I just sighed.
[3]

Katherine St Asaph: Every corporate EDM song is a pop song with rave lights. It’s just as boring to complain about that as it was the first few times around. But one thing I dislike about the new wave is how it shifts the perks — and cashflow, potentially — of celebrity from the Matthew Komas and Miriam Bryants of the world, who write the things and draw the hearts, onto the Zedds. (Think of it like this: What made “Clarity” so Facebook-status relatable, Zedd’s track or Foxes’ teenage yearning? And who is a bigger star?) Not that that’s new either, and the landscape were different and if “Find You” were released as a piano ballad of the Christina Perri sort, I probably still wouldn’t like it. It’s just that there are exactly two people here whose careers I want to see blossom — think they can blossom — and neither of them is Zedd.
[3]

Iain Mew: “We’re fireworks with a wet fuse”: indeed! The fireworks come marked “Icona Pop album track”.
[3]

Will Adams: Melodramatic EDM needs more duets. Matthew Koma and Miriam Bryant trade lines like they’re on Broadway, except they’ve each got unique, idiosyncratic voices that add heft to the drama. Meanwhile, Zedd deploys his usual pyrotechnics that, perhaps for the lack of ubiquity that plagued Guetta, still haven’t run their course.
[7]

David Sheffieck: The drop is so incredibly dull you’d expect to see as an example in a “Producing EDM for Dummies” book, but (for once) Zedd’s got a decent set of vocal hooks to carry the song, and that makes up for at least a little.
[4]

Megan Harrington: I can’t tell Matthew Koma and Miriam Bryant apart, which I’ll be sharing with my doctor as a potential symptom of hearing loss. Aside from thinking “Find You” was sung by one Voltron like mega-human, I felt my 0° Kelvin heart warm to 0° Celsius after enduring all this sweet positivity.
[7]

Brad Shoup: “Spectrum” is the Zedd/Koma pairing that I really like; it’s a neat combo of brooding British psychedelia and the requisite brostep. There’s not a huge difference between that and this, except the words are dumber and the melody is Tiesto-level somnambulent. So, kind of a huge difference, actually.
[3]

Rebecca A. Gowns: I picture myself as a judge on a televised talent show — something like “Earth’s Got Talent.” This trio comes out and introduces themselves: Anton Zaslavski, 24, Russian; Matthew Koma, 26, American; Miriam Bryant, 23, Swedish. They’re coy, but not nervous. As the piano instrumental comes in, Matthew begins singing with the essence of popular-guy-at-the-karaoke-bar. The audience prompts him with some scattered “woo”s, but I’m not yet impressed. Miriam comes in, and I perk up, although my fingers are still circling around the button in front of me, tempted to sound the jarring foghorn of disapproval. Then, Zedd (Zaslavski), in one swift movement, punches a few keys, twists a knob, slides a slider! The music swells, the beat comes in, the stage lights flash, and the crowd goes nuts. I shift forward and steeple my fingers. Now we’re cooking. Sharon Osbourne and I are pointing at the stage like “Are you seeing this? Are you hearing this?” My eyebrows raise when the music slows down again, as I’m not sure if that first chorus was just a trick Zedd pulled out to keep them up there for the first 30 seconds. But it’s no trick! Every time the duo threatens to lope back down into Youtube-vlog-duet, Zedd swoops underneath them like a magic carpet and takes them to new levels. The audience is jumping out of their seats and screaming. I spin around in my chair. There are dollar signs in my eyes. I don’t know if this trio can make it to the finals — and there’s no way in hell they’ll beat the puppeteer we found in Hungary — but I could still buy this song from them and sell it for a teen sci-fi movie soundtrack or something.
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