The Singles Jukebox

And a couple of Taiwanese artists with a track that DOESN’T sound like the title… or does it?

[Video]
[5.83]

Katherine St Asaph: Expected a Brooke Valentine-y girlfight track, got a midtempo, deceptively chill track veering into Winehouse-y retro and rap breakdowns but always returning to a brooding circular piano loop. Pretty, I thought, but a weird choice — until I realized it’s the same trick as “The Boy Is Mine.” So there’s that title after all.
[6]

Iain Mew: Having three singers is just the starting point; it sounds like no idea or sound has been rejected at any point of the process. It flirts with being a mess, but to some extent it works for the song’s melodrama, a picture of insecurity being held at bay through excess.
[6]

Alex Clifton: Slow-moving and piano-heavy, although neither of those are bad. It feels like a Bond theme with that same level of gravitas and bombast. I expected something fast and angry; this has a lot more swirling around in its mix. A song that keeps unfurling with every listen.
[7]

Edward Okulicz: “Catfight” does a lot of things really well, and the song catches your ear from the start with the relay between the piano and the big booming drums. It’s all perfectly set up for drama, but the rest of the song doesn’t cohere, the singers don’t cohere, the changes in mood from section to section feel unnatural, and by the time the chorus comes in it feels a bit over-the-top.
[4]

Juana Giaimo: Maybe if it weren’t for the constant high-pitched piano chords or the very high-pitched chorus, “Catfight” wouldn’t feel so rigid. Luckily, the rap verses are a good break. 
[5]

Thomas Inskeep: The staccato-ness of everything here, from the choppy piano riff to the vocals, makes “Catfight” sound uncomfortable in a most excellent way. Just from the way this record sounds, you get the feel of a catfight, or at the least a very intense disagreement. Deliciously nasty.
[7]