One heartmachine at a time.
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[6.14]
[7]
Anthony Easton: This is more oceanic, or atmospheric, especially the last half a minute, then anything called heart or machine has any right to be. The absence of a 4/4 beat anywhere suggests an ambition beyond the feel-good lyrics.
[6]
David Sheffieck: Synths are the predominant sound in “Heartmachine,” but it’s telling that they’re not the first one we hear: the 60s-style guitar riff that starts the song turns out to be the most distinctive and dominant element here, to the extent that it’s eventually joined by a tambourine – arguably the most retro signifier possible, with the exception of the woodblock percussion that also drops in for a visit. The production handles the combination of retro and modern with aplomb, but it also ends up overwhelming Rusti’s willowy voice on more than one occasion. She’s got character, but she needs strength to stand out against a backing track like this.
[6]
Alfred Soto: She’s like Ellie Goulding, mincing through synthesized block chords and guitar squiggles in search of the machine if not the heart. Good instinct too — this thing needs more precision, more pulse.
[5]
Abby Waysdorf: The reference points for Maylen Rusti are obvious; pretty much all of contemporary “indie”-ish pop is drawn on here. But I could listen to this chorus all day. And when it comes to pop, that’s what matters, doesn’t it?
[8]
Will Adams: Amicable, midtempo pop with those glossy synths we all know and love, but the guitar is doing 80% of the work here.
[6]
Brad Shoup: I think of Jenny Hval, and how she would have roughed this up. And swapped out the titular organ.
[5]