Our occasional foray into the Australian charts goes about as well as usual…

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[5.00]

Alfred Soto: A song with so promising a title has no business being this serious. And long.
[4]

Anthony Easton: Almost on auto-pilot, and very much of its genre, but not without its pleasures. Could stand to be a little more paranoid.
[7]

Martin Skidmore: There’s a strained tension in singer Hayley Mary’s voice that I quite like, but the trudging indie rock playing is inadequate support. I didn’t think they’d bothered to write a chorus, but then worked out that when she goes falsetto, that is the chorus.
[4]

Josh Love: Lyrically this hints at being a really sad gender-fucked version of “I’m in Luv (Wit a Stripper).” So there’s some promise in the concept, but they don’t really follow through with it, and everything else about this song is an utter tampon-rock cliché, dragged down by ponderous rhythms, absent any real melody, and utilizing a wailing leap into the singer’s upper register in place of actually making the music do anything or go anywhere.
[3]

Rebecca Toennessen: I think there could be something here, if I only gave it a chance. Unfortunately, the vocals don’t do anything for me and the tune itself gets filed under random 6 Mix cleaning-the-house background music.
[5]

Zach Lyon: I enjoy this, but I could see myself enjoying absolutely nothing else from them. Sonically, nothing here stands out as being even a little bit original about them, and it fades into the contextual wallpaper of the current indie era (SO MUCH KATE BUSH). But her lyrics are so hooky and intriguing, especially in the beautiful chorus (“she loves me/more than anyone who wouldn’t speak like that/she keeps mace spray”) and I’m a sucker for its brand of sentiment.
[7]

Alex Ostroff: Epically gothic, but the vocals are too mannered and not powerful enough to pull this off. It’s like if Neko Case and Zola Jesus did a half-hearted duet for the soundtrack of Six Feet Under.
[5]