The Singles Jukebox

On to Cameroon, and to a swoon…

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[6.86]

Jessica Doyle: Two gorgeous people (one of them in gorgeous eyeshadow) smile at each other in a series of soothing locations, while in the background a song saunters along through whistles and understated percussion, confident enough to relax in a refrain of, “There is something about you, babe, that I really like.” True, the music doesn’t go anywhere; but who’s in a hurry to leave?
[6]

Scott Mildenhall: Level 42 and Jamelia knew it: “something about you” is a great starting point. The former sounded happily mystified, and the latter added a little frustration, but Reniss plays things more coy. It’s the instrumentation doeing the talking: unimposing, but intriguing. The main assertion of the lyrics is drawn out a little too much, but it sticks in the mind as much as what surrounds it.
[7]

Hannah Jocelyn: It’s the “Someone Great” chord progression! I like the change to F major every now and then, which separates it from sounding too much like the LCD Soundsystem song. That series of chords becomes hypnotic with the other sounds on display — most notably, after the summer of dancehall, the clap on the fourth beat feels like a surprise. That whistle hook sounds pretty great too. Then the main line (“there is something about you that I really like”) continues the string of soothing sounds, a gorgeous melody paired with a fantastic come-on. This groove could go on for miles and miles, so it’s a shame that they choose to awkwardly end it like they do.
[7]

Ryo Miyauchi: “Dashiki” brings a sound to a feeling Reniss can’t quite put a finger on. While she keeps a straight face, the bubbling bass provides the flutter behind the nonchalance. And her words remain vague: “there’s something about you that I really like,” that something being possibly anything. I don’t think she knows exactly what she has either, but that small glimmer of something makes the song shine.
[6]

Juana Giaimo: I’m glad I live in the southern hemisphere, because this track fits the first warm days of spring. A subtle rhythm, sweet vocals and a pleasantly quiet flute makes “Dashiki” the smoothest track. 
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Katherine St Asaph: The exact musical correlative of a swoon.
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Olivia Rafferty: Every eight bars, when the synth begins to push against the beat, these wonderful moments of tension are planted. It’s almost as if Reniss spends her time warming up to you, dancing a little closer with each line, and then as she reaches a hand out, lightly spins on her heel and retreats a few paces. The pressure almost becomes infuriating as you wish for a real break into something heavier, but in the end that’s what’s so disarmingly charming.
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