The Singles Jukebox

Somehow, this is our second Buscemi reference in the space of 24 hours…

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Thomas Inskeep: Easy-going, beachy Ibiza pop, with the most mellow voosh vooshes you’ve likely ever heard.
[5]

Ramzi Awn: I don’t know why I like this but I do. Suddenly, I have the distinct urge to be on vacation in Greece. I want to watch the cliffside atop the water; the hot sun; the din of the day coming to an end. I want to cry, even though supergirls don’t cry. 
[6]

Katherine St Asaph: Neither Krystal Harris nor Bullet and Snowfox, but Captain Balearica, working that Superman sadness. The narrative, though muddled, does at least outdo Five For Fighting (why were there so many Superman-themed songs in the early 2000s? Why not now, when big-budget superhero movies are an actual thing?) and the hook, though “Clocks,” does stir some something or other, but the chorus should be a lot more super.
[5]

Jonathan Bradley: This past Friday, I went to see Trainwreck at the movies, which was fun, if only because it has been forever since I’ve been out to the pictures. It seems as if cinema is approaching ever quicker a singularity wherein every frame of celluloid must be filled by a superhero. “Supergirl” has a hook that has the middling banality exuded by a mutliplex readying to screen something like Antman or maybe Spider-Man vs Hawkeye or whatever. It also has a lost and searching hum that I wish were big enough to make up the song in its entirety.
[5]

Iain Mew: It’s unusual to see a track that’s based so much in current dance give lead credit to its singer rather than producers as the lead credit, but it’s well deserved. Like recent European champion of the laidback, Lost Frequencies’ “Are You With Me”, this takes an existing song as a starting point, in this case Raemonn’s synth-rock, but Anna Naklab singing it makes a big difference compared to Lost Frequencies’ replication. She sings with a lighter touch that meshes with the silvery production, and combined with the unchanged words now coming from another woman it really lights them up. Not only does it change the relationship dynamics, but while all the supergirl statements still come prefaced with “she says,” it’s easy to imagine that the “I” struggling to be powerful is sometimes her as well. The result is a layered and emotional listen.
[8]

Patrick St. Michel: Now this is how you do drama. There’s a subtle tension in “Supergirl,” the whole song powered by a nervous energy that never bubbles over but is always lurking. 
[6]

Will Adams: The canned electric guitar brings to mind David Guetta’s inspiro-pop phase from three years ago, meaning that “Supergirl” is neither fresh nor convincing.
[4]

Micha Cavaseno: Guys, I’m getting really worried how if it weren’t for the drops, this recent batch of AOR EDM could be hold music. I mean, look at this for example. If it weren’t for that light shuffle, you couldn’t tell me that this wasn’t someone trying to go for that Natalie Merchant money. I just can’t understand the continuous need to spruce up what’s obviously a standard bit of stodge-pop with artificial knees so it can pretend it can groove with the “fellow kids.”
[2]

Brad Shoup: Supergirl: she packs the power of ten thousand maniacs!
[6]

Scott Mildenhall: It sounds like another “Waves”-wave reinterpretation of an unexpected ’80s track by someone like Chris Rea or Paul Young, but no, it’s the second possibility: an old German hit that never crossed the Channel. Imbuing it with half a pulse is a good step, but whatever happened to putting a donk on things? Never mind. This formula is still a great one, and this execution does at least make a better job of the upbeat/bittersweet thing than Naklab’s prior take on “Wicked Game.” If she’s taking requests, then “Promise Me” by Beverley Craven would be great, thanks.
[6]