Title refers to what I can only assume is the gritty 2019 reboot of Kids In The Hall…
[Video]
[5.62]
Vikram Joseph: Thank you for your submission. We did enjoy the billowy clouds of synth and relatably vague allusions to idealised adolescence (very saturdays = youth-era M83, we all agreed). Sadly, we regret to inform you that entries for the Drive soundtrack closed in 2010. However, if we could be so bold, might we suggest that Stranger Things season 3 might be a good fit for your material?
[6]
David Moore: A brooding ballad with such fidelity to the 80’s synth-pop goop from which it scoops a few healthy dollops that it’s more museum exhibit than song, though a pretty one.
[6]
Ian Mathers: I’m not sure why Natasha Khan’s work only really seems to hit me hard when it’s in ballad form (give or take a Sexwitch album, although I’m still thinking about that), but I am endlessly a sucker for those. This isn’t quite a “Laura,” but it’s not as far off as I suspected it might be on my first playthrough.
[7]
Katherine St Asaph: A potentially good Bat for Lashes ballad, with all her usual feathery-fringe embellishments, that’s drowned in “Crazy For You”-via-“I Feel It Coming” production goop. I suspect that the sticking point is I find “Sleep Alone” a massively better and more thrilling song than “Daniel,” but few others seem to, including Khan.
[4]
Will Adams: “Kids In the Dark” exists in the same sonic sphere of shimmering, throwback synthpop that defined Niki & The Dove’s devastating 2016 album but lacks the same pathos. Blame it on the drawn out syllables, or the excess of reverb, or perhaps just the over-saturation of this musical aesthetic, but I’m left numb by this.
[5]
Joshua Minsoo Kim: The titular line is the song’s only real misstep: a clunky, attention-drawing moment that betrays how otherwise tender, vaporous, and ephemeral this succeeds at being.
[6]
Leah Isobel: Some of The Bride‘s lush textures and distended approach to form surface here, but this is one of Natasha Khan’s more conventional releases — there’s not much story beyond the ghostly affirmations and growling bass. Presumably there are meatier tales waiting on the record.
[6]
Alfred Soto: So we beat on, bands against the current, borne back ceaselessly into the goth.
[5]