She’s from Sweden. That’s about all we can tell you before Google suggests “Evil Overlord”…

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[5.75]

Edward Okulicz: Whereas the word “now” by itself in English sounds demanding or taunting because of its “ow” diphthong, the Swedish version “nu” has more erotic potential, and suggests longing more than impatience (even over something otherwise so strident). Överfjord and the whistling backing over the chorus make a lot out of that potential.
[7]

Daniel Montesinos-Donaghy: Överjford cycles through two or three melodies of identikit electro-heave, lumbering through the verses but finding ways to let loose in the choruses, her voice finding as many intonations as she can in the song’s one syllable title. Her tones momentarily find themselves filtered and distorted, lending the effort a degree of force — none of it makes for a great hook, but hints that there may be a more interesting singer somewhere within the machine with the ability to make these moments pop.
[5]

Anthony Easton: That bit about halfway into this — where the woowoos and the 90s production fade out and we’re left with her falsetto and an air-whipped soft serve delight of a hook — might lift the whole leaden thing off the earth.
[6]

Katherine St Asaph: What would you get if you siphoned all the personality from a Ke$ha track? Still-decent dance throb.
[7]

Scott Mildenhall: Like a more singy, more songy “Flytta På Dej” (in that both are the work of young women performing in Swedish over angle grinder electro, lazy comparison fans), and that the almost subliminal ho!s evoke “Go West” more than The Lumineers is a sign of a job well done.
[7]

Brad Shoup: I think the vocal garbling was intended to communicate intensity. It just sounds strangled. Standard pulsing electro-pop, with lots of double-tracking, faraway ivory tinkling in the breakdown, and a horrifying moment right after the breakdown where the producer goes full EDM chipmunk on her vocal.
[3]

Alfred Soto: Whether chopped, blipped, distorted, or natural, the voice wanders through EDM wastelands in search of a hook.
[4]

Jonathan Bogart: The texture she gets in her voice at the end of the chorus. The male-chorus shouts deep in the mix. The pulsating throughline synth. The piano puncta at the middle eight. The score is only so low because I suspect she can do better still.
[7]