Medina – Giv Slip

“Frozen” in Danish is “frosne,” in case you were wondering…

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[6.29]Iain Mew: To begin with, this is like easing back into a chilly yet strangely comfortable pool as Medina remains as fantastic as ever at moody throbbing. Except that, this time, it sets up a chorus that blows everything apart and goes running through glorious sunlight. Even before reading the translation it sounded like letting go — where in this case that means escaping the ice palace.
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Will Adams: I much prefer Medina when she’s buttressed with icy synths. “Giv Slip” sounds like Melanie C trying to do “Let It Go.”
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Scott Mildenhall: Ironically restrained for its message, with the titular lines in particular sounding unavoidably unemotional. That could easily be an effect of language unfamiliarity, and as the song goes on a sense of urgency does build in Medina’s performance, but even at that point everything else going on around her – polite guitar, polite shuffle – goes on without her.
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Edward Okulicz: Medina should have given this to someone a bit fluffier. An Ellie Goulding type, if you will. Medina’s voice at its best is to the eardrums what a blast of cold wind is to the skin, and needs to be on something steely, something as bleak as winter. This is, instead, an intense vocalist on a polite song constructed out of wood and paper and sagging badly.
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Anthony Easton: This is slip –like give ’em the slip, an elegant French exit out of awkwardness — and not slip — as in a gap that you fall into. The seamless quality of the vocals, and the sheen of the production make that clear.
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Brad Shoup: She’s pushed the tempo quite a bit here; if I squint, I can hear drum ‘n’ bass in the chorus, which is fairly effervescent for once. But as usual, Medina’s voice is the percussive focus, and her emotional range is yawning.
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Alfred Soto: The echo and expensive echo of Diplo-produced Usher and the frog chants that Haim deployed so well — all three used for serviceable dance pop whose desperate undertones should be overtones and aren’t.
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