Monday, August 29th, 2022

070 Shake ft. Christine and the Queens – Body

Well, it looks like we’ve almost reached an end. But there’s still time for more of what we call “controversy”…


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Leah Isobel: “Do I want to be you, or be like you?” is one of the more durable queer koans — when it’s not enforced by gender, desire feels like ego. Do I want to give, or take? Nurture, or possess? Do I deserve you, or do you deserve me? Do I want your body if comes with your soul?
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Thomas Inskeep: The pace, and vibe, 070 Shake sets here is so glacial as to be sluggish; this “Body” is getting no action.
[3]

Jacob Sujin Kuppermann: 070 Shake’s music has always evoked the faux-sophistication of modern sci-fi — epic, sweeping minimalism, her giant synths and elegaic vocals conjuring emotion through pure show of force. It’s never meant anything, really; I’ve been fooled by her SpaceX torch songs before but no longer. Christine and the Queens presents Redcar can’t move the needle here — it’s all too much and nothing at all.
[2]

Hazel Southwell: I’d normally describe horny, drugs-referencing, sensual, blurry electro-barely-pop as exactly my music taste but this doesn’t hit at all. In a sort of inverse to the way The Weeknd’s songs commit too hard to accurately representing being messed up at a party and go through the fun zone to something else, this tries to convince you so much that it’s totally having a fun and cool time it accidentally ends up sounding like a corporate focus group. OK we got bodies, we got weird noises, we got a novocaine reference — guys, can we work on the storytelling here? We’ve gotta really get the authentic buy-in from the geriatric millennial homeowner demo.
[4]

Alex Ostroff: The gradual build from skeletal production and breaths to heavier latter-day-Kanye evil synths sets a mood, and 070 Shake and Christine and the Queens’ voices circle around one another in an entrancing way. Still, I can’t help but want something a little more substantial. “Body” feels more like an interlude or an album outro than a single. “I wanted your body, but it came with your soul” is a nice line, though.
[6]

Nortey Dowuona: The lilting synths over the loping bass drums are so hypnotic you almost wish that the snares don’t touch down as Chris begins to waft in, his voice so wispy and soft that the slightest move might break it. Synths crinkle as they slip under the front door, but 070 Shake kicks in the door, pulls Chris off the couch, and tosses him out into the street. As Chris falls, he begins to ponder that Dâm-Funk song he did and whether he should’ve called him to do an album together — then 070 Shake drops the Ye Vinyl out her window and it slices his body to synth ribbons which splash against the ground, shrieking and wailing, until they spin into a blinding tornado of light and disappear.
[8]

Alfred Soto: Not a demo so much as an interlude or perhaps a pupal stage: a track in the act of becoming a song. With a hook this solid, all the performer’s gotta do is not get in the way of the bloops and bleeps and helium gushes.
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Ian Mathers: Christine and the Queens is consistently overrated enough (including here on TSJ) that I find myself bracing for disappointment even when he’s just a “ft.” but it turns out providing the hook on some vibey, synthy mumblerap is a good look for him. 070 Shake is still the more compelling performer here (and “I wanted your body, but it came with your soul” is a good line) but the blend works out nicely and the overall result feels like a dark, strange obverse of another good recent song about the body.
[8]

Anaïs Escobar Mathers: Talk to me with your body/when your words can’t anymore has been looping in my brain since I first heard this and it feels… timely for the kind of fatigue people are feeling around communication these days. It makes me think of sex, of touch, of affection, of grounding, of somatic bliss, of all the ways we communicate with our own bodies and others’ bodies without words. There are many ways to communicate and this song expresses that succinctly and effectively. I think there’s this place or level where we process and absorb things outside of the cerebral and “Body” encapsulates it. It’s what we’re calling a lot of art and media lately: a vibe.
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John Seroff: 070 Shake’s disembodied electroburble and Christine’s pointed élan collide and blunt without significant enhancement to either. Bits of vocal and electronic filigree provide tiny sparks of possibility, but “Body”‘s overall miasma of ennui makes this bass-heavy mope du jour more of a sleepwalk than it has to be.
[5]

Brad Shoup: Not that anyone’s keeping score, but I did come around on “The Hills”. It’s a punishment jackhammer, a tripledown on fucked vibes, something so willfully obnoxious I ended up admiring it. And the bass has exquisite touch. The bass here doesn’t have the same aftershock. It taps at the shoulder as relentlessly as 070 Shake says body. But there’s a similar insistence on dragging the bit out of the cemetery, and the screams of “The Hills” are echoed in the Carpenter-core of the outro. Sometimes being transparently miserable is enough.
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