So remember that one scene in Sister Act? Now I do…
[Video][www.alunageorge.com/“>Website]
[6.00]
Jonathan Bogart: ’90s R&B is the obvious touchstone here (if that’s not the “Genius of Love” sample buried deep in the mix, it’s an attempt to get close), but without the rhythmic strength that actually propelled ’90s R&B — snare hits seem to be becoming something of a lost art on the Soundcloud wing of indie electro. Aluna Francis’ vocals are appealing and capably rides a beat that’s funkier than it presents itself as being, but the whole thing is just too featherlight to stick.
[7]
Brad Shoup: I whiffed on “You Know You Like It” — didn’t even know it was a thing until well after Pazz & Jop — so it’s good to see that its minimal-house take on Ashanti wasn’t a onetime genius stroke. All these words without a misstep (by that I mean everything forms a complete feeling); I can focus on her logos and maybe the pinched synth twerking won’t get stale so fast? Shame the bridge all but shrugs before ducking out of the studio.
[7]
Patrick St. Michel: These two have been tossed into the same “future pop” folder as Purity Ring and Grimes, but “Just A Touch” lacks any of the weird edges those artists have built buzz on. This sounds like a stab at a mainstream crossover, George’s production prone to whirs and twinkles but ultimately a minimal creation meant to highlight Aluna’s confident coos. Whereas some songs appropriating R&B elements keep some distance from that style, AlunaGeorge aren’t afraid to stand right next to it.
[8]
Katherine St Asaph: The problem with a hybrid of retro R&B and “We Share Our Mothers’ Health,” despite being maddeningly trendy, is that I’d rather just go listen to retro R&B or “We Share Our Mothers’ Health.” Nothing else about this is a problem.
[7]
Anthony Easton: Her voice is really annoying, high and off pitch. That, and the squelchy, farty, electronic noises that reinforce the vocals.
[2]
Alfred Soto: The first thirty seconds are some of the most ear-pricking I’ve heard all year, and if the pipsqueaky-clean vocal annoys, I figure it’s supposed to. Hell of a chorus, though.
[6]
Colin Small: This seems pretty straightforward at first but eventually forms itself into a scattershot nursery rhyme. Like a really ugly sweater, it’s interesting but hard to experience repeatedly.
[4]
Iain Mew: Adequate song and singer; excellent synth squeaks, wobbles and everything else engineered to make them sound something more.
[7]