Tuesday, October 12th, 2021

Anna Sedukova – Набирай меня

…mozhet byt’?


[Video]
[5.86]

Dorian Sinclair: The titular plea of “Набирай меня” (it means, roughly, “call me”) is sung a dozen times in the less than three minute runtime of the song — more, if you count the English. It’s undeniably repetitive, but there’s just enough variation in the backing vocals that the effect is slightly more hypnotic than tedious. The beat is suitably woozy and urgent for this late night cri de coeur, but it’s serviceable more than great. The track’s best trick is its last; you think it’s ended, then Sedukova rallies for one last groggy entreaty before, one assumes, collapsing into unconsciousness, phone still in hand (been there!).
[6]

Jessica Doyle: This starts with a promisingly menacing air, but it never stops  generating dread long enough to actually do anything. The breakdown  feels like it ought to be a transition into the climax of the song, not  its coda. Ted Gioia recently suggested  that it does nobody any favors to cap songs at a mere three minutes;  somebody should give Anna Sedukova some room to test his hypothesis.
[5]

Ian Mathers: One of those videos where the fact everything is filmed on a bright sunny day and there are lots of colourful outfit changes make things feel more foreboding, not less. Listening to this song I feel like I’m going to wake up in a bathtub full of ice missing an organ. Not a complaint!
[7]

Leah Isobel: The diffuse rhythm in the verses is pleasant, if a little textureless; Sedukova slides over the synths without grabbing on. This slippery quality means that the chorus snaps into place with a welcome, propulsive shock the first time around. It’s not as compelling when it’s repeated. But the third shift into a grinding, slowed outro? That keeps on giving.
[7]

Jacob Sujin Kuppermann: Tries valiantly to get free of the generic dancefloor stuff — those stutters are fun, at least — but the underlying beat is so straightforward and Sedukova’s vocal performance so by the numbers that it cannot possibly extricate itself.
[5]

Oliver Maier: The little details and “Sweet Dreams” bassline aren’t enough to save this from monotony. The Eurythmics made listlessness sound vast and compelling; Anna succumbs to it and delivers very little.
[5]

Alfred Soto: Serviceable in the best sense: a vocal appropriately anonymous, a beat decently danceable. 
[6]

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