The Singles Jukebox

We all need a coat like Claire’s.

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[6.50]

Claire Biddles: All this week I’ve been recovering from not feeling so good, so I’ve been wearing my white faux fur coat to work. It’s cheap — I got it in a jumble sale for £5 — and it’s slightly too big for me so the arms reach past my knuckles and the lapels hang off my shoulder if I walk too fast, but it makes me feel sexy in a miraculous, transformative way that maybe a more expensive, well-fitting coat wouldn’t. Its strange proportions and knock-off allusions to glamour are like the production design of my daytimes — a knowing, winking stage set. At first it seems ironic, and I might pretend to myself that it is, but secretly it’s sincere, and I’m so glad it is, because that’s what makes it work. Anyway, this song is the same as the coat. 
[8]

Ryo Miyauchi: I can’t tell which overall grows more exhausted by the end of “Anymore”: that thick, screwed-up bass or the flustered Alison Goldfrapp. She can barely string together words in succession, but of course, she can announce one line clearly. “I can’t wait anymore!” She blurts, and as the temperature rises, the refrain heats up more and more.
[7]

Anthony Easton: A propulsive beat leads a solid vocals, where what she is saying and how she is saying it, matches perfectly…an extra point because it kind of reminds me of Sleater Kinney. 
[9]

David Sheffieck: The vocal vamps, the synths squelch: taken in pieces this all sounds great, but together it never adds up to more than the sum of its parts, and more importantly never quite goes anywhere. Even the bridge, which at least introduces a new vocal hook that carries through to the end, can’t disrupt the stolid plod of the beat. The result is a song that burns like a fuse waiting, waiting, waiting, waiting, waiting, and somehow never setting off the explosion it’s meant to.
[6]

Alfred Soto: A slow crawl through Alison Goldfrapp’s lust, made slower by electronics at least ten years old. 
[5]

Thomas Inskeep: Back to electro from the wasteland of Brit-folk, but not much less boring. It’s like they’re being influenced by their own records from a decade ago, only they stopped going out and just listen to music on the couch now.
[4]