Our fifth and lowest-scoring round with her…

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[5.83]

Alfred Soto: Frank but blank. I’m so bored with “icy” synths. 
[5]

Brad Shoup: The formula remains unfucked with: Medina still hiccups the right notes impeccably, the arpeggiated synths spangle the track, the key change inspires rather than bothers, and the whole production sounds like a penthouse “With Every Heartbeat”. Only the knowledge that she can bring the legit smash keeps my score this low.
[7]

Anthony Easton: Gorgeous, mostly for its sea-crab-scuttling-across-the-bottom-of-the-ocean base. The vocals are kind of middling and the lyrics are atrocious, but if we can scrap all of that, the instrumental work is worthwhile. 
[4]

Iain Mew: As ever, synth-pop melancholy par excellence, with Medina’s vocals too odd and full of personality for it to settle into prettiness alone. I don’t know if the number of times I’ve already listened to “For Altid” or the bare functionality of the lyrics/translation is more responsible for the fact that I don’t feel any differently at all from when it was in Danish. Maybe the desperate repetition of “you and me forever” getting to the point where it ceases to really mean anything is part of the point.
[8]

Jonathan Bogart: I’ll cop to being inconsistent, sure. Last time I complained that she wasn’t singing in English, and now I miss her Danish. Point removed for the key change.
[6]

Ramzi Awn: Ugh I really need to add The Hills to my Netflix queue.     
[5]