Werther’s is branching out…

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Iain Mew: Orange Caramel’s songs have shone most as part of their awesome video collaborations with Digipedi for a while. “My Copycat” takes things to a new level: the small dose needed to appreciate its high-concentrate sax loop ensures that it’s best consumed through its teaser trailer.
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Micha Cavaseno: There’s no coincidence that on a song like “My Copycat”, Orange Caramel are revisiting former Saxobeat (can we make this a sub-genre of music? It’s a lot more secure a phrase than Eurobosh!) glories. But the lyrics, the subtle edge on the choruses in the production, hint at a sort of shoulder-checking that you don’t expect from these girls. Orange Caramel have a lot of swinging and sneak-dissing, whether it’s boys or rivals or whomever might be in the way of their dance-until-death ray grins. And it’s hard not to want to get caught in their wake of destruction and get blasted to joyous bits.
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Anthony Easton: I wanted the almost circus-like atmosphere (that extends the culture of excess) to work past the first thirty seconds or so — the song settles into the usual mania with a certain resignation. 
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Alfred Soto: On first listen it’s closer to Marnie Stern in its manipulation of conventional instruments than K-pop, but K-pop at its most transgressive has treated conventional pop as endlessly manipulable. Orange Caramel’s example fulfills this tenet. 
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Sonia Yang: A catchy dance track with a saxophone line — Parov Stelar goes K-Pop, anyone? This is nowhere near as left field as their quirky previous single but I think I prefer it this way. Accompanying this earworm is a fun game of Spot the Difference (complete with wrinkly phallic flamingo).
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Cédric Le Merrer: There are two ways saxophones are used in pop right now. One is the sax solo as sign of good taste defying fun (see: Katy Perry, Sistar). The other is the Mr Saxobeat way, and the Orange Caramel style seems much too controlled and precise to accommodate a freaky solo. The marriage of east European bosh with the west Asian-inspired disco laments makes me wish they’d have tried the other option, though.
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Patrick St. Michel: It’s Orange Caramel’s brand of Euro-sax-disco with a beastly jump-around chorus, the best hook they’ve had to date. 
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Jonathan Bradley: In contrast with K-pop’s instinct for the magnificently overstuffed, Orange Caramel does a great job of making songs with no more than a single idea. “My Copycat” might not even qualify for that, since it pretty much digs out the horns from “Lipstick” and declares them good for another go round the block. The thing is, the result is always so rife with personality and charm that it’s utterly irresistible in spite of itself. “My Copycat” doesn’t have the breathless rush of “Catallena” that would make it truly essential, but it’s loads of fun anyway.
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Brad Shoup: The sax is swerving into a hot jazz lane, and that is a problem for me. The carnivalesque bridge actually serves as a respite.
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