Monday, December 24th, 2012

CREEP ft. Tricky & Alejandra de la Deheza – Call Her

& COMET & CUPID & DONNER AND BLITZEN


[Video][Website]
[5.62]
John Seroff: Sleepy mumblecore reminiscent of Faithless on benzos, “Call Her” is goth makeout music for pool parties. That’s a salad fork I’m unlikely to need on the table anytime soon, but one I have room for in the drawer.
[5]

Katherine St Asaph: At the risk of sounding like a Skrillex meme: pretty, but where the hell is the bass? (No, Tricky doesn’t count.)
[6]

Ian Mathers: This is gorgeous and atmospheric as hell, but… not much really happens? “You” was an amazing song, but this almost feels more like an extended interlude than anything else. Everyone involved does a fine job, and in some other context it might work perfectly, but as a standalone song it feels a bit undercooked. It is really gorgeous, though.
[7]

Anthony Easton: The soft voice barely audible under female moaning and abstracted electronic noise is supposed to sound romantic in some capacity, I think, but it just sounds super creepy.
[6]

Alex Ostroff: Creepy and CREEP-y as ever, but there’s even less of a song than there was on “Animals“. I still love the project, but I’m nervous about potential diminishing returns. Or perhaps just about how dependent their success seems to depend on what their collaborators bring to the table. While Tricky and School of Seven Bells hypothetically seem like good fits, they don’t assert themselves over the track nearly as strongly as Romy xx or Nina Sky once did.
[6]

Jonathan Bogart: I imagine it would work great as a lingering mood-chaser towards the end of a more sonically varied and uptempo album. On its own, though, it’s a little too wispy and insubstantial to catch hold of; not even Tricky’s baritone mutterings tether it to earth.
[5]

Brad Shoup: My brain did a double take at the feature; as many artists as Tricky’s worked with, I don’t believe I’ve encountered him on the Jukebox. “Call Her” is four minutes that sound like 20, a misty landscape wherein Mr. Tricky tries to outdub the bass. But the focus is da la Deheza, who drags things along without the panache of a Holly Miranda or the playfulness of Nina Sky. As always, CREEP dunks nearly everything in reverb, and as always, the result is music made for Hell’s dental office.
[5]

Will Adams: Gee, I’m sleepy.
[5]

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