There is basically no news context today in which a video made of MASSIVE FUCK-OFF TANKS would fly well, but pop’s gonna pop…
[Video][Website]
[5.67]
Iain Mew: “Flytta På Dej” attacked and attacked, so going full-on combat is a logical enough new route. “Armé” is built like a tank: metallic and rolling over everything, bangs of drum fire, Alina barking orders from on top. It’s impressive, but the harshness doesn’t include any fun or variation. Without proceeding to a fight, it comes off as a meaningless show of force, a parade stuck moving on one track.
[5]
Cédric Le Merrer: If military music is known for one thing, it’s probably that it’s not good. Actually, the objectives of military music are such that most of what makes most other kind of music good could make a military piece less good. That’s why “Run the World (Girls)” never completely worked, and why military beats are best left as deep new wave album cuts. I understand the sentiment to reclaim the military, but how are we supposed to dance to or enjoy this if we’re not marching up the Champs Elysées?
[3]
David Sheffieck: It’ll take more than this and “Salute” to turn militant (or military?) pop into a thing, but I am absolutely here for every rousing snare, shrilly chanted chorus, and commanding brass flourish that Devecerski deploys in service of making it happen.
[8]
Alfred Soto: Shouty glam chorus and martial beats grace this Swedish singer-songwriter’s effort. Although it sports one tempo change more than Wizkid’s, it also has nowhere to go once it announces itself.
[5]
Brad Shoup: Like “The Power”, the organ fries and it’s all too short. Devecerski mashes the Inception BONG button while a drum-corps horde salutes from the depths of the valley. This is the sort of mayhem normally given to South Korean acts.
[7]
Scott Mildenhall: It’s good to see how little a stylistic diversion this is from Maraton, because that had a sound with miles left to run. It had a fair amount of more muted angst — and right enough, this begins like an extra-wrought “Jag svär” — but the bulk is a manifesto for Devecerski’s #nopyronoparty attitude to pop music. She’s not just full of Big Emotions, she is the Big Emotions; the voice of unvocalisable intensity.
[7]
Anthony Easton: Devecerski’s voice is ugly and ego-less, yelling against an abrasive electronic core in ways that are intimidating and beautiful. I love when EDM moves into pure punk performance.
[7]
Dorian Sinclair: This song is overwhelming, frankly, and what melody there is doesn’t rise above the general chaos of the production. Mostly I come away feeling shaken and a bit intimidated, because I am a small and delicate flower with small and delicate sensibilities.
[3]
Katherine St Asaph: The airhorns harmonize with Devecerski, who shouts the chorus forward like she’s sending her vocal cords to the front lines. It’s revved-up reveille, drill sergeant as diva — and unlike too many pop stars in military camo, Devecerski both fully grasps her metaphor and delivers it like she wants casualties. If that’s good.
[6]