Nathan Fake builds a rising column of solid digital sound that almost overwhelms in its sheer density.
Andrew Paschal: The geometric, digitized music video befits the clunky, clattering electronics that form the skeleton of the first half of "RVK". These first few minutes are interesting enough if a little graceless and borderline irritating. It's Raphaelle's vocal contribution, coming in during the song's latter half as it morphs into a moody, ambient reverie, which imbues "RVK" with real pathos and elevates it to a higher level. [7/10]
Adriane Pontecorvo: Nathan Fake builds a rising column of solid digital sound that almost overwhelms in its sheer density. Fake and Raphaelle quickly go sky high, wasting no time on floor level, and Raphaelle's amplified voice is intensely powerful. With that said, this song could use a little pruning, particularly in the beginning, where the first minute or two make it feel like there's a good chance that nothing is going to happen. Luckily, that's not the case. [6/10]
Mike Schiller: Well, it's impeccably produced. Every sound is crisp, clear, and out front, while the vocals that Raphaelle offers halfway through the track give it some of the melody and intrigue that its first half lacks. Even with those vocals, however, the repetition and lack of build are disappointing. Fake presents an interesting idea and then sits on it, never quite finding its potential, never quite managing to get anywhere that hasn't already been tread by countless artists before. [4/10]
Chris Ingalls: This is a track that doesn't just begin normally -- it shoots out of your headphones in a colorful, fiery fusillade. Fake believes in using a wide variety of sonic colors to create an industrial dream world. Raphaelle's guest vocal spot helps ground the song a bit, but it's still thrilling to hear the machinery fly all around. [8/10]
Chris Pittaway: Pretty, spacey, but ultimately hollow. Almost sounds like new-age meditation music with a drum machine and liquid synth pasted on top. The vocals that Raphaelle brings to the table about halfway through add very little, and don't make the track any more memorable. [4/10]