Sadly the pattern doesn’t stretch to a third. Enjoy some Nontroversial Swedish pop instead.
[Video][Website]
[6.75]
Thomas Inskeep: If Robyn was all about that bass.
[6]
Micha Cavaseno: Yeah, the name sounds like a Transformer, but the song sounds like a GoBots version of Grimes. But then again, Lorde sounded like a industry knock-off of early Charli XCX and people let her get some mileage. Likewise, I have to say the pro-league version is at least eager to have some blatant 80s pop style melodies and hooks that are like… delivered with some obviousness. They know these are the hooks, they know how this works. This is like when you tell someone “just flick that switch over there” and they give you that icy stare. Vanbot has got this guys. Just sit back.
[7]
Alfred Soto: Getting emotional over electrostutters and echo as vast as the distance between Sweden and New York — yep, this begs for Xavier Dolan’s attention.
[6]
Josh Langhoff: Threatening to swamp the chorus of this electro-breakup, a gigantic NAY MONSTROUS synth line comes and goes as it pleases — starting on unexpected beats, hiding behind explosions, devolving into bereft pools of squelch. Violent turmoil of the heart and all that, but even better, Ms. Vanbot has a knack for imbuing her machines’ timbres with minds of their own.
[7]
Scott Mildenhall: Vanbot ploughed her own furrow for a number of years with a professionalism that belied her then lacking a record deal. Every now and then she would pop up with an ice pop bullet like this, before completely retreating until the next, and she’s remained pleasingly dependable. As ever, her direct delivery and slightly off-centre tone sum up the song: comfortingly familiar, but quietly unsure. Her best hit far harder, but intimate, unshowy electropop with a hint of distress is her optimal mode.
[7]
Will Adams: That chorus just explodes, the bass buzzing, the synths shivering, and Vanbot at the center delivering a triumphant hook. While the rest may not be the most distinct icy electropop I’ve heard this year, I can relish in that chorus.
[7]
Iain Mew: Move over, Namie Amuro.
[7]
Katherine St Asaph: Vanbot describes her #brand (god) as such: “Late night bike riding and endless love for retro synthesizers inspired Vanbot to compose synth-heavy electro-pop.” She’s remarkably spot-on about her appeal. Also about her score.
[7]