The Singles Jukebox

Wojciech suggested this Polish singer about whom I can’t tell you very much, and possibly wouldn’t even if I could speak Polish.

[Video]
[5.43]

Ian Mathers: Honestly the bit with just the “ohhhh oh” vocals was working so well for me I wouldn’t have been mad if that was just the song. You either make this kind of dancefloor minimalism work for you or you don’t, and here Agus knows just how many elements to keep in play for it to work.
[7]

Kylo Nocom: Agus mines the atmospherics of bleep techno to soundtrack an ode to nighttime restlessness, knowing the ability of particular electronic textures to say what words can’t. What her words do say spook enough to stick: “Time passes so slowly in hell / Feet are tarred from SSRI.” This is what all “hypnagogic pop” should really be like.
[6]

Isabel Cole: There’s a perfectly workable beat and a solid vocal line with at times an interesting melody, but then there’s also a bunch of echoey nothing and unattractive plinky chords which make me feel like I’m wandering around some RPG dungeon.
[4]

Katherine St Asaph: Getting a bit of a William Orbit feel, overall; plus two bridges, one that suggests best-case Disclosure rather than bro-est-case Disclosure, one that suggests PC Music as adults. “Stella Matutina” doesn’t quite go anywhere, but neither does smoke in a room.
[7]

Oliver Maier: I can respect the click-clacky drums and IDM-derived synths here while acknowledging that none of it is alchemised into a song that I can dance to. Sleek, frictionless, forgettable.
[3]

Edward Okulicz: It’s strange and disorientating, more like a weird performance piece covering up just a hint of pop that’s growing through the cracks than an actual song. There’s also a little chalky diva hiding in Agus’s voice which makes the strangeness underneath her sound a little too dinky.
[5]

Will Adams: This would sound like a Disclosure rip were it not so cavernous and sparse. The additional reverb washes it out, sure, but there’s almost something hypnotic about the diffident beats and arpeggiated chords. The lyrics appear to describe a sleepless night, and the music captures that space between the wonder of early morning and its stasis.
[6]