Readers: help us figure this one out.
[Video][Website]
[4.83]
Iain Mew: On one hand, I would love to hear what a more skilled singer (that’s a wide category) could do with such a woozy daydream of a track. On the other hand, if “Chleb” wasn’t fronted up by a model I probably would never have come across it and its surreal video in the first place, and that would be a loss.
[6]
Anthony Easton: There are reasons to like this: how it seems languorous or slow, but is overrun with ornament; how it refuses the energy of a speed up or rapturous chorus; those crystalline tears near the end; the slightly rough, slightly off tune element of her voice, how it almost squelches in place; and those are all legitimate, but the points might be the for the video, especially the strawberry twins in the skip.
[7]
Will Adams: Anja’s half-singing only works on the chorus when it’s multi-tracked and supported by a moody synthbass. On the verses, it’s pushed to the front, as if pleading you to find some charm in its pitchy affectlessness.
[5]
Alfred Soto: Listeners might appreciate the tension between the garrulous off-pitch vocal and the languorous arrangement, a synth patch over squelch bass and click track. This begs for replay.
[5]
Scott Mildenhall: How to judge a satirical song from a country you don’t know in a language you don’t know? With difficulty! What is clear is that, whether it’s the point or not, Dorota Masłowska cannot sing, and the way she tries to here wouldn’t really sit well with the production even if she could. Perhaps people in Poland would be better placed to evaluate this, but to listen to it’s awful.
[3]
Brad Shoup: Unlike the Canuco Zumby/Bernardina joint, which combined rinky-dink production with wide-open singing to — well, if not winning effect, a solid bronze — this track lacks any enthusiasm. Doubling and tripling Rubik’s vocals creates a cloudy effect, and the clop ‘n’ stab of the production screams “afterthought”. Maybe if I think of it as a karaoke performance…
[3]