The Singles Jukebox

And so The Veronicas lose both the twin-off and the Veronica-off :(

[Video][Website]
[6.71]

Cassy Gress: I know it’s probably just my American perspective, but it’s a little weird to hear a first verse talking about “I want black, I want white, I want all the colors,” parse it as a race reference, and then hear absolutely nothing having to do with that in the entire rest of the song. The great parts of the song, though, are the rhythmic, almost percussive way she sings “Kommer alltid vara vi mot världen” in the chorus, the muffled timpani that almost sound like grunts, and the echoed, floating “aahhs” in the bridge.
[8]

Edward Okulicz: Maggio’s biggest hits don’t usually have anything like the beefy drums on this, and I appreciate the change-up. Over something this comparatively loose and loud her voice almost mumbles the title’s phrase, but still conveys believable excitement. I really like her voice — both her instrument and her artistry —  because she can pull off a number of emotional states with subtlety, and it doesn’t hurt that her lyrics are simple enough for my A2-but-maybe-nearly-B1 level Swedish to not require a translation.
[8]

Alfred Soto: A charming strummed hook and vocals dissuade me from reading the translation, which is how I know it’s a strong tune.
[6]

Iain Mew: I like the invention of the arrangement — acoustic intro, drumrolls, synth whistles, no element outstaying its welcome. It just seems to be working double time to cover up a lack of substance beyond.
[5]

Juana Giaimo: I like the urge in Veronica Maggio’s voice in such an upbeat song. She even sounds rather uncomfortable singing, but she still makes the effort it anyway because she cares. The title translates as “Us Against the World,” and it indeed seems like she is fighting to be heard in a world that spins too fast, that is dancing along to playful flutes and carrying her from one place to the other — an image probably influenced by the music video –but as long as she and the song’s subject are together, they will get through it and maybe even join the dancing too. 
[8]

William John: The lyrics, once translated and parsed, are the words of a woman in love and elated. The track scans as half-tempo P!nk, which is not itself a negative, but fails to align with the alleged euphoria. There’s enough shade and contrast in Maggio’s vocal to make her sentiment believable, but her guitars are missing the zest and vitality present in past triumph “Jag kommer.”
[6]

Leonel Manzanares de la Rosa: Maggio’s style economy — her ability to get the most out of small gestures like the acoustic guitar strumming pattern — is the song’s actual strength. Those rhythmic motifs wouldn’t do much if it wasn’t for her peppy phrasing, which give the track a certain depth, and also provide it with that rare quality of sounding both brisk and melancholic. You can still hear the dejection in that “Kommer alltid vara vi mot världen, det du gör med mig” line, despite the luminous surroundings.
[6]