The Singles Jukebox

We know it seems like we’re reviewing children’s audiobooks now, but bear with us…

[Video][Website]
[5.55]

Patrick St. Michel: If it turns out that this is actually Bjork recording an ironic, YouTube-ready ska-rap number, please change my score to a [10].  For now, though, this is a group trying way too hard to have fun and just coming off as beyond irritating.
[1]

Will Adams: Somewhere on the cutting room floor of the Saturday Night Live offices lay a discarded Deep House Dish sketch starring Kristen Wiig as Bjork. Good to see that it didn’t go to waste.
[3]

Alfred Soto: There was a time when presidential candidates campaigned on higher tariffs. Our forefathers warned us about pustules like this. After all, why accept forced hilarity when we can manufacture our own horn sections?
[2]

Pete Baran: This has been floating around London for a month or so, and sounds like the greatest lost Sugarcubes track ever, if the Sugarcubes were Balkan and Einar would shut the fuck up. Our guest singer – who I have been reliably informed is neither Sam or the Womp – does the best naive Bjork growl in her drinking and dancing scat, and it completes what is otherwise a OK brass dance band number (listen to the non-vocal original on Spotify to see how ordinary it is). But most importantly it is finally a reason to retire Pigbig.
[9]

Anthony Easton: This is just insanely fun, late July, ass-shaking, pure brass and high class wonder. Extra point for the disco lasers. 
[9]

Jonathan Bogart: The swing charts of “We No Speak Americano” crossed with the earworm of “Mr. Saxobeat” and the personality of “Loca People” — mainland Europe is making the best worst music in the world right now.
[9]

Iain Mew: The brass (and bass) sounds like one big party and the synth laser fire is a fine addition. I just wish that the vocals and lyrics sounded more like genuine fun and less like forced wackiness (“pie in my pocket and eye in my socket”? seriously?) because there are the makings of something tremendous here.
[6]

Michaela Drapes: IMPORTANT QUESTIONS WITH NO ANSWER: Why did this seem like 10 minutes long? Why do I feel like I’m trapped in a fever dream meeting of Bjork, Gogol Bordello, and James Chance? Why can’t I stop listening to this? I can’t tell if it’s sheer genius or utter shit, which is generally a certain sign of some kind of amazingness.
[8]

Brad Shoup: I’m sure really fun music can be made by bands featuring the offspring of pop royalty. But really fun music made by bands featuring the offspring of pop royalty who’ve apparently outsourced their creative direction to the seduction community? I don’t believe it’s been done. This cultural own-goal features a lot of brass, but no woodwinds, and though I know shit-all about Balkan music, I know some reeds could’ve added hips and humor — both the good and regular kinds — to this dancing-celebrity-show idea of a funk tune. Between this, Korpiklaani and all the Eurovisions ever, the world has made it clear: we’ll take your upbeat folk music, but only if we can stick a ring in its nose and drag it around the party. 
[2]

Katherine St Asaph: I would pay good money for a book of “Bom Bom” mondegreens. Offer the discarded stems, and I’d bankrupt myself for years.
[6]

Jer Fairall: An excited vocal squeal halfway between Annabella Lwin and Debut-era Bjork. A jaunt of horns halfway between Le1f’s “Wut” and 90s ska revival. Dubstep wobbles halfway between everything-but-the-kitchen-sink exuberance and an uncharacteristic lack of self-confidence.
[6]