Wednesday, October 3rd, 2018

Kija – Potpis

How do we feel about Serbian pop-metal?


Edward Okulicz: Big Balkan chest-beaters are a favourite of mine, and it’s to my discredit that I don’t seek enough of them out outside Eurovision. Kija wins me over instantly with a cello, and just as I’m ruing the early ending, there’s a lash of guitar and the song comes back to life with an unexpected final chorus. “Potpis” delivers drama and delivers it efficiently.

Jacob Sujin Kuppermann: An intriguing dance of vocals and synths on the verses swallowed up by sub-hair metal pomp on the chorus, never to regain its footing.

Nortey Dowuona: Swerving, slippery cello and twinkling, satellite piano open the song, followed by satellite synths, pulpy bass, distant, reluctant guitar and flat-footed drums. Kija stands atop it, surfing it, then dives off her board and swims through as the song slowly opens. Petals of guitar slip in during the verses, then sheets of background hums weigh it down. The guitar drifts in tentatively then slips out again as Kija gently pulls the strings of the song apart and snaps it inside her hand.

Ryo Miyauchi: Kija practically coordinates a firework show in the chorus with a full stadium-rock band and a hollering choir to announce “I can’t take hold this in anymore!” As sincere as she commits to the narrative, the length at which the production manipulates the scale as well as volume makes this ode to sexual frustration come off a bit ridiculous, though.

Alfred Soto: As uncomfortable as recent Carrie Underwood at moving between rock and awards show bombast.

Micha Cavaseno: Did you know that incorporating trap drums makes a generic power ballad something much more special? That’s because it actually doesn’t, and you’ve heard “Potpis” a million times before with or without that little tic.

Joshua Minsoo Kim: Two pity points for the tragic production and mixing, the sort of amateurish studio work that could never allow a songwriter’s vision to come to fruition.

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