Smear shapes…
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[6.50]
Thomas Inskeep: Nicely retro new wave-pop in Welsh, from the ex-Pipettes singer. This actually sounds as if it was beamed in from 1982, rather than being an homage.
[6]
Brad Shoup: It has the wrong kind of feels for Italo-disco, but the focus on robots is roughly in range. That descending keyboard progression is wonderful, the whole takeaway for me: a fog-bound walk through a sudden future.
[5]
Iain Mew: It reminds me of Little Boots’ “Motorway”, but stranger and more fraught, not just a journey but an escape. Happily the limited translations I can find support the element of intriguing wrongness which I get from all the rusted edges of its not quite slick synth pop.
[7]
Juana Giaimo: If I was travelling through space, this is the soundtrack I’d imagine that would join me. The sensation of not being attached to any land is in the subtle beat and the stars are in the sparkling keyboard notes while Gwenno’s slightly distant voice floats aimlessly — because where can you go when there is only darkness around you?
[8]
Alfred Soto: I can’t imagine recording this vocal dry; the echo adds the resonance to this minor chord, rumbling dance number flush with late eighties signifiers.
[7]
Micha Cavaseno: Its the little guitar strumming bit, more echoing flutter than actual riff. It manages to give you that instinctual bit of nervy edge coming from hurrying down a path in the woods or waiting in a subway tunnel. Alone, but unsure if being alone or not is the best alternative. Naturally, this sort of Euro-Retro approach to post-punk soundbites is very familiar; even if you don’t regularly listen to The Honeymoon Killers to feel morose, you’ve probably heard enough of Johnny Jewel’s work to know this vibe. Its a very simple yet effective slip of pop winking at you for a minute, and you’re not sure if it was a trick of the eye.
[7]
Ramzi Awn: Nice drum work. The rest of the single reminds me of a Chinese folk album I once found on the side of the road. Lots of strings. I’d rather just listen to Celtic Woman.
[4]
Edward Okulicz: My first point of comparison was Bat For Lashes’ “Daniel,” only with an added layer of cloaking. Not only don’t I speak Welsh, but Gwenno weaves in and out and behind the backing like through a fog. You’ve got to listen closely but it’s awfully pretty.
[8]