The Singles Jukebox

[Editor frantically searching for a city in Sweden that starts with the letter ‘K’] Uh… Karlstad! Yeah, that works.

[Video]
[6.00]

Iain Mew: After a big 2018, Afro Bashment’s moment in the UK chart sun has pretty much passed, diluted to a bit of a flavour in mainstream rap. So it’s a cool time to hear the same full sweet chiming succeeding in Sweden, even if K27 never quite manages to fully relax into it.
[5]

Kylo Nocom: I love how bubblegum-y this beat is, and those ziiiips that appear sporadically single-handedly make “Kom Hit.” K27 sadly cannot provide the pointillist synths much to love, but the joviality of the “come hither” hook sustains a feigned liveliness that I can believe in throughout the rest of the song.
[5]

Nortey Dowuona: The flitting stunt synths dab over the the flat, 3D printed drums as an ashy guitar pops up while K27 softly, pleadingly emotes upon it.
[7]

Michael Hong: Maybe it’s just looking through rose-tinted glasses over the end of summer, but K27’s malleable rapping over those twinkling instrumentals and 8-bit keys is completely enjoyable. It definitely helps that “Kom Hit” keeps it short, letting that vibrant hook be catchy without ever slipping into incessantly annoying.
[7]

Jacob Sujin Kuppermann: Charming but a touch too frantic, with the beat’s electro bounces not leaving much space for K27 to get his shots off. The ones that land are pretty good, though — the winking line about switching to English sometimes especially.
[5]

Edward Okulicz: Sure, every second song sounds like this, but this is a superior example of its type. The beat has a little bit more pep, K27’s flow is somehow more urgent yet still gentle, the hook is catchier, and hearing it in my favourite language reminds me of that moment around 10pm in Scandinavia when daylight, that seems never-ending, suddenly falls out of the sky like a dropped glass. A bop, basically.
[7]