Jeux… sans… frontieres!

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[6.29]

Will Adams: If you told me that Wynter Gordon’s follow-up to her (fantastic!) debut With the Music I Die would most resemble a tribal-infused “In the Air Tonight,” I would have laughed in your face and skipped away with “Still Getting Younger” on repeat over my headphones. And yet, as fun as the disposable dance pop of that last record was, it’s exhilarating to find her in this new, darker territory — not because she’s taking an indie, DIY approach, but because she’s never sounded better. She tiptoes over the first verses’ syllables like she’s hiding from a storm, then grows until she erupts at the chorus, unleashing the force of what might as well be all of the pent-up sincerity from her previous musical life.
[7]

Katherine St Asaph: Wynter gets her concept on and her Peter Gabriel on, or at least her Noah Shebib on, sings of prayers and pain, interpolates Hugh Masekela, finally claims her capability to be interesting. If anyone wonders why I spend so much time on chart pop, this is why.
[8]

Iain Mew: Full marks for pulling off an unlikely transformation, but I preferred her other stuff. This just takes an age to unwind to no great effect, with Wynter placing far more weight on each carefully spaced out word than it can take.
[4]

Brad Shoup: It’s wonderful to get a bit of self-abnegation in the marketplace. The organ oozes between channels like a glittering slick; the percussion presses with much weight. But the neatest trick may be Gordon’s, for bringing such a lightness to a potentially cumbersome text.
[8]

Alfred Soto: Liking this track depends on tolerance for the singing, and Gordon’s voice, resting on a bed of nineties electronics and a sample I don’t recognize, doesn’t move me at all: its swoops, its nasality. An altogether too lightweight package.
[4]

Anthony Easton: Slightly more interesting than the music I heard at my one and only introductory yoga class, but I am terrible at yoga and have no context for this. 
[4]

Jonathan Bogart: On paper, a Flo Rida and David Guetta collaborator doing an electronic song influenced by South African music — or rather South African music by way of ’80s Peter Gabriel music — sounds awful. Congratulations to Ms. Gordon for producing something so definitively non-awful.
[9]