The Singles Jukebox

Michael brings us Vietnamese neon pop.

[Video][Website]
[6.83]

Anthony Easton: Does Your Body Move? Does Your Body, Move! (How) Does Your Body Move? What do the movements of your body mean? Can the ways your bodies move, and the ways my body move, move together? All of the questions pile up until she sings No body is beautiful like me; which could mean I am uniquely beautiful or we are all uniquely beautiful. This tension between the specific and the universal might be her fantasy, more than any of the litany of erotic potentials, which deepens an already dense production.
[9]

Tim de Reuse: The most important asset this track has is the FM bass that buzzes and bounces around the drop, produced heavy and clear and arranged into a cluttered, dizzying rhythm. When it’s center stage, it’s infectious. When it’s not — well, there isn’t much else going on at all.
[6]

Iain Mew: The main hook is chunky, confident dance-pop up there with Riton & Kah-Lo. Then there’s most of an album’s worth of other ideas part-realised alongside it, from more straightforward emotional pop to CCS-arch art party. It’s an approach I enjoy, but in this case it might have been even better if more focused.
[7]

Madeleine Lee: Bangs in a standard way (to the extent that there is a standard for post-Melbourne bounce with ballad soprano vocals and “art party on the beach” brags), but the additional sounds in the final chorus give it some extra impact.
[6]

Nortey Dowuona: Soft, unimposing drums dance across the twinkling synths the puffed bass and flat drumwork had led up to, then both collapse into each other while Thy coolly slides along, and Kimmese seems just to be having fun with it.
[6]

Ryo Miyauchi: “Là Con Gái Phải Xinh” dresses the brash electro thirst of bloghouse in tender Eurodance clothing, and its come-ons too seduce in a deceivingly soft voice. Even without Kimmese’s in-your-face support, Bảo Thy knows she’s the most magnetic. She just knows how to downplay it to her advantage.
[7]