The Internet says it means, roughly, “move your ass.”
[Video][Website]
[6.75]
Iain Mew: This song has no real chorus to speak of, periodically hops in and out of sounding like La Roux, and has almost no melodic elements that I can actually remember when it’s done. I haven’t made sense of it at all, but I keep on coming back to it, and for a short time at least there is nothing I would rather listen to than shouting “flytta flytta flytta flytta” over manic electro. It helps that it sounds a bit like “I Love It” put through a shredder and thrown back together.
[9]
Katherine St Asaph: Music for our cybernetic future, when we are all high-kicking, ponytailed robots. And when we’ve forgotten about tension and build.
[6]
Will Adams: So much about this – the crunchy electropop, the sing-songy rapping, the rapid fire vocal phrashings – reminds me of Yelle – a specific song, even – that I am required to love this by default. This loses points because I don’t understand Swedish, which isn’t really Alina’s fault. It also loses points because of that annoying bit where she goes “FLYTTA FLYTTA FLYTTA,” which I suppose is a more valid criticism.
[6]
Jonathan Bogart: FLYTTA FLYTTA FLYTTA FLYTTA.
[8]
Brad Shoup: The whole track sounds both pissed- and sawed-off; I imagine someone shadowboxing in a gym closet. Its crusty synth line occasionally sloughs off bonus data, so if you’re sick of your friends yelling about ’90s bitches maybe you can plug this in.
[7]
Anthony Easton: I like to think that the song says, “I want to flip the pony”, which amuses me. Besides that mondegreen, I like the woohoo choruses, and the crunchy basses. The rest I am ambiguous about.
[6]
Alfred Soto: Boy, does she sound exuberant: girlish in receptivity to emotion, mature in how she switches from chest to head voices when necessary.
[7]
Patrick St. Michel: The music sounds a bit elbow-to-elbow busy, but the singing (especially those “oooooooos”) cuts through the crowd and save this.
[5]