Wednesday, July 19th, 2017

Aleksandra Prijović – Testament

From 4th place on Idol-ish show Zvezde Granda to… well, still thereabouts…


Alfred Soto: Damn — what happened here? The dirty opening riff matches Prijović’s growl, after which both bow before an inapposite string section.

Katherine St Asaph: The first minute or so, a stage set with dark synths, percussion recalling the good parts of trip-hop, and a crunchier-than-you’d-expect guitar riff, are great. Then onto that stage wafts a bottom-tier Eurovision chorus.

Ashley John: The folk interludes try to keep the song interesting, but otherwise Aleksandra Prijović croons without anything compelling pushing the song forward.  

Iain Mew: “Testament” does a great job of coherently linking together its bombastic pop and traditional folk elements, but the wind machine chorus that melds them is the part of the song I enjoy the least. That I preferred the Severina approach of throwing in a jarring divide maybe says something about the limits of my level of engagement with both, but that doesn’t make it any less true.

Ryo Miyauchi: I miss choruses like this in pop that bet it all on feelings, messy as they may be. It seems like I remember beat drops more these days. And the chorus for “Testament” is a hot mess, just like its singer, who cuts off her phone and downs alcohol to forget like this is some country-pop break-up banger.

Thomas Inskeep: This song is the definition of “bombastic.”

Edward Okulicz: It’s a sturdy-enough wind-machine power-ethno-pop emotional freakout, which I’m totally fine with. I just wish the chorus were a bit more wind machine and a bit less simulated rain storm.

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