The Singles Jukebox

While we wait for the next S!sters single…

[Video][Website]
[6.50]

Leah Isobel: If pop must attempt political resonance, this is the kind of statement I want it to make: solid, insistent, and relentless. Much as I think Hatari’s performative gestures are so much brand-building, the production here slaps, and provides a suitably grand platform for Murad’s ghostly wails; a sonic declaration of solidarity. This is the sound of pop banging on the wall that separates it from activism.
[7]

Tim de Reuse: Trying my absolute hardest to imagine a world where I didn’t know anything about the Twitter trends or geographic particularities involved with this particular song, and wondering if I’d still like it as much then. I guess there’s a particular synergy between Murad’s soaring vocals and the dry grind of the bassline that would be enthralling in any timeline; on the other hand, maybe the hyper-aggressive bits of barked Icelandic are riding a little too much on novelty.
[7]

Katherine St Asaph: I’ve asked myself a few times in the last month whether I’d give Hatari any time whatsoever had I encountered them as a band and not the reigning memelords of Eurovision, so much growl and so much leather coming off so unassuming lads; then I remember I’ve listened to multiple Blutengel songs, so my credibility is nil on virtually everything but being unironically into this. The problem, though, with “Hatrið Mun Sigra” was none of the dozen problems attributed to it but that the chorus vocals were too tentative, too half-assed on a song where everything else was not just full-assed but full-heaving-sweaty-and-close-up-shot-in-the-video-assed. “Klefi / Samed” swaps them out for Bashar Murad, who does his best Andru Donalds, which crucially means doing his best vocally.
[7]

Alfred Soto: This disco nu-metal amalgam doesn’t compel me to translate the lyrics, but the thud ‘n’ grind creates its own sexual frisson.
[6]

Jessica Doyle: Full credit to Hatari: this is a much stronger move than their weak-sauce, bored-political-teenager act in the Eurovision green room (and, for that matter, complaining about their seat assignments). And while we’re at it, extra credit for not only publicizing Bashar Murad — here’s his YouTube channel and Insta — but by making sure his parts are the only interesting sections of the song.
[5]

Katie Gill: The highlight is easily Murad’s dreamlike vocals: those first thirty seconds or so are absolutely GORGEOUS. But all in all, this is yet another entry into the “more interesting as a statement than an actual song” camp. However, it’s Hatari. I’m certain they would take someone calling them more interesting as a statement than a song as a compliment. 
[7]