The Singles Jukebox

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[Video][Website]
[6.71]

Katherine St Asaph: Now here’s a lovely ludicrosity: instrumentation flown in from those two months when anything remotely like classical guitar sounded prime, wah-wahs, factory-sharp bass and a hot-and-bothered lounge singer cooing her way through the Tough Guide to Fantasyland with her tongue against her teeth. I’d love to live in the world where this is massive.
[8]

Iain Mew: It’s not just the lack of English internet presence that makes this mysterious. The drums pop and snap unexpectedly and the bass hangs in a thick haze for the little slithers of guitar melody and metallic plinks to pass through. The “wah wah wah” backing vocals sound like nothing I can think of. The singer and her words sink into all of that, and she sounds like Lana Del Rey shorn of almost all signifiers bar the title, singing of desire as a lurking unknowable force. I mean the comparison as a compliment.
[8]

Anthony Easton: Skittering, amoral, predatory, reptilian, with a disco edge — but think disco more as an intellectual essay about the edges of electronic noise making, and less of a pleasured fantasia. (See Arthur Russell without the optimism.)
[6]

Brad Shoup: Gorgeous guitar runs, regular nighttime gremlin stuff that becomes trying with the vocal filter. Mondegreen alert: “I am the maiden” somehow became “re-animator”.
[6]

Alfred Soto: Since it’s June I can get away with calling guitars “sun-kissed.” All Fela-style ripples, they’re the most interesting element on a track in which the singer coos metaphors from inside a burlap sack.
[4]

Jonathan Bogart: The guitars sound more highlife to me than Afrobeat, but learning that they’re Danish is what really gave me context: both the singer’s unmistakable accent and the way the track kind of foozles out make sense to me now. Very pretty while it lasts, though.
[7]

Edward Okulicz: Wine-bar backing music with actual feelings; it’s as tasty as it is tasteful.
[8]