The Singles Jukebox

We, on the other hand, are back in Romania…

[Video]
[5.57]

Iain Mew: A wide-ranging sampler of European pop sounds in a few minutes — fun, and slightly more coherent as a song than the alternative of the Eurovision recap while the phone numbers come up.
[7]

Edward Okulicz: Superb backing track full of bells and whistles and tricks and twists, and it never gets boring, changing constantly. Really, there’s enough raw material in there for two songs. The (single) song on top isn’t quite as creative, though.
[6]

Katherine St Asaph: A sturdy pop song constructed in the wrong order — imagine if the outro was a bridge, if there were one fewer chorus before it, and if the final chorus exploded. I realize these are Eurovision specs, but the song’s not not built to those.
[5]

Ryo Miyauchi: Andra brings some seething, wrecking-ball pop, though I wish the production gave her a clubbing musical hook or at least some form of release. By the time the dramatic brass makes way, the chorus has already settled, as if it missed its cue to really cause damage.
[5]

Dorian Sinclair: I may not understand much of “Indiferenta” beyond the title, but the minor-key rocking of the verse and wailing descent on the second half of the chorus do a good job of conveying the meaning despite that. But they’re let down by the production, which is serviceable without ever being memorable or particularly interesting.
[5]

Leonel Manzanares de la Rosa: A track that could easily be discarded for its unremarkable vocal dynamics — and kind of an underwhelming hook — is saved by the punchiness of its beat and the superb use of noises and details in its rhythmic space. It’s a bit upsetting how those two things go on at the same time. 
[6]

Alfred Soto: Andra struggles against the tame beats: she aims for a synthesis of K-pop and Europop mannerisms, the beats stay within Europop confines. 
[5]