I don’t know, you’re all smart enough to do your own Google translating.
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[6.88]
Iain Mew: The intro, with its resemblance to starry-eyed trance records and “Clocks” (and so, yes, “When Clocks Takes Over”) had me really worried. Then the synths with the same amazing vacuum popping effect as on “Vospominanie” come in, the melody and production quickly take on new depths and it turns out that there was nothing to worry about. The way that the warm beauty of the chorus is both supported and given a slightly more complicated edge by everything else reminds me of Kylie’s “I Believe in You,” which I love too. A full album, please?
[9]
Scott Mildenhall: Ask Moby and he’ll confirm it: juxtaposing Sad Piano with Digital Noises is a sure route to gold (or a gold disc at least, depending on your inclination). If you do like that sort of thing, like his perfunctory, unnecessary yet good remix of OMD’s “Souvenir,” this may be for you. In fact were OMD born 30 years later than they were, from Russia and a woman, this is a song they would make.
[8]
Anthony Easton: I like how this mirrors itself, contracts and expands, rises and falls, like a precise abstraction — crystalline and shimmery, and just on the right side of excess.
[5]
Daniel Montesinos-Donaghy: As well-executed as this slice of propulsive, bitty electropop is, I’m pretty certain there’s supposed to be a song happening somewhere within it.
[5]
Alfred Soto: The chorus percolates and syncopates with electrofied precision, the vocals and production boast the thin anonymity of prime Kylie.
[6]
Brad Shoup: A lot of times, I talk about what I’d rather have heard. Hey, maybe boosting the bassline and making this a pop banger was contrary to Nyusha and her team’s wishes. Maybe they had images of headphones ‘n’ high-speed rail instead of car speakers. This has the feel of Junior Boys’ subliminal funk, and would stand out on one of those chill-leaning EDM compilations that dots the Spotify landscape.
[6]
Edward Okulicz: As derivative and disposable as our last entry, but it’s easier to float over icy, windswept dance music than it is to be heard above the din of second-hand Minaj. The tinkling keys are very 90s, like if Robert Miles went a bit more bosh and got a more-than-competent Russian Kylie to warble sweetly on top. I won’t call it a throwback; this stuff’s never really left the charts in Eastern Europe, and I’ll say it again, it’s time for the Anglosphere to start importing some of it given our disinterest in creating our own top-shelf models.
[8]
David Lee: Congratulations to Sergey Percev and Nyusha on locating the overlap in the “Soundtrack for BBC Arctic Nature Porn” and “Lasers Pinging Off A Disco Ball” venn diagram. Fuck a sunny Summer Jam: this makes me want to dance under the aurora borealis forever.
[8]