The Singles Jukebox

If it were me I wouldn’t put the null symbol right in my band name, but hey…

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[5.11]

Alfred Soto: What the bloody hell — a Jet tribute act with worse hair and Owl City vocal?
[4]

Jonathan Bogart: T. Rex updated for the soft-focus indie-means-winsome generation, all the thrust and sneer and weirdness ironed out in favor of an AM-pop sheen that could have been performed by Captain & Tenille, and still been one of their least-weird album tracks.
[4]

Leonel Manzanares de la Rosa: The glitz of 70’s glam rock — complete with fuzz guitar and a Gary Glitter beat — meets the exhilaration of modern psychedelia (via the thick synth layers and the sparkling reverberated vocals) and of course, Haim, for a track that’s as Coachella-ready as pop can get. The lyrics walk the all too beaten love song/drug song path, but the way the production adorns it is just gorgeous. 
[6]

Katherine St Asaph: Electric like the phone-charging tent at a music festival. The backing vocals swoop like Goldfrapp’s “Happiness,” which is about a cult.
[4]

Thomas Inskeep: Sounds like MGMT playing a Flaming Lips cover of a Prince song, and also like a car commercial. (Close: it’s been used in Hulu’s commercials for much of the past year.)
[3]

Danilo Bortoli: It would be way too easy to assume this is a blatant, hypocritical ripoff of MGMT’s early days, so I’ll just go and suggest for a minute that Garret Borns’ music comes from a place of intellectual honesty. But because it is inherently soulless and tepid, it would still sound like fake psychedelic electropop made to sell literally anything for people way too bored to decide what to consume. 
[4]

Scott Mildenhall: When this rises up to the ceiling and then into the heavens, lifted by that glowing wall of guitars and “aah”s, it has all the mystique that glam rock is glorified as having and more. BØRNS is breathy, shrouded in clouds with glitter and lights, and when playing off the hint of jaggedness, he’s the epitome of lithe. Even though he’s singing about how he‘s the one experiencing things, his ownership of those experiences, just like the presence of the “you” he’s addressing, is utterly peripheral to the feeling that he is offering himself up to the listener for their own imprinting, presenting himself as some alluring, pacifistic futurebeing who drifts in and drops out before their very eyes. Never mind putting your arm around your guitarist’s shoulder, if Top of the Pops was still around today and BØRNS got to perform this there, there would be (maybe) literal revolutions. It’s not homage, it’s update.
[9]

Patrick St. Michel: Finally, someone gave The Shins jock jam swagger. “Electric Love” is chipper, annoyingly so at times, but ultimately that chorus and stomping beat win out.
[6]

Brad Shoup: Take out the loping fuzz guitar and you have really good advert music: its happiness is held over its head. Hell, the first verse reads like a Kidz Bop rewrite. But yes, I just want to listen to Haim.
[6]