Reception and Remixes
The single received positive reviews. "Paul Van Dyk makes a grand return to the club scene with his new single "White Lies and Jessica Sutta also proves that Nicole Scherzinger isn't the only Pussycat Doll who can sing lead. The combination of these two results in a great song with some great remixes. While only one mix is what you'd expect from Paul Van Dyk, all of the mixes are excellent and worth checking out."
Paul Van Dyk and Alex M.O.R.P.H do the Berlin Mix - It showcases all of the elements that make up a great trance mix. Synthesizers and pumped-up drums and beats zoom around frantically with the only vocals being that of Jessica singing the title of the song. It's a perfect choice for those late night punters who don't need a lot of singing with their music.
If you want to actually hear the vocals, go directly to the L.A. Mix. This mix uses all of the vocals and is actually not as euphoric-sounding as the first mix. The beats are rougher and the trance element is essentially missing. It almost sounds like a Dave Aude remix. Perhaps his influence rubbed off on Van Dyk for this particular version. The added elements of flamenco guitar and punched up drums make this mix a stellar one. This sound is a refreshing change to what we are used to from him.
The Dave Spoon Mix continues in the same direction as the previous mix. The keyboards are the main attraction here, though during most of the mix they overpower Jessica's vocals.
Finally, the Aural Float Remix is a dreamy electronic mix, not at all good for dancing to but perfect for a chilled out evening at home. The song moves along lazily and feels very atmospheric, never attempting to do anything related to a dance floor.
Read more about this topic: White Lies (Paul Van Dyk Song)
Famous quotes containing the word reception:
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)