What’s she feeding us today?
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[6.50]
Iain Mew: “Ignorance is a bliss”; so are the racing synths and the way the chorus mixes purpose with a sharp edge of uncertainty.
[8]
Patrick St. Michel: Lyrically, this is intriguing, especially when she hits the “help me escape the human race” bit (which is also a great little hook). Sonically, this seems a bit too content sounding like dance music gone pop, without ever really sounding all that catchy or danceable.
[5]
Edward Okulicz: Margaret Berger has finally made the song that the video to “Samantha” always suggested — only this time she’s both subject and object. If the music’s a little generic, Berger’s voice is more than capable of doing the heavy lifting: as on “I Feed You My Love,” her voice gives the lyrics (which are trite on paper) a deliberate, measured naivety, yet with a bit of steely grit at the same time. Unlike “Feed,” it isn’t built for the stage, and it’d only be average on the dance floor; its meaning and its pulsating sound call for a more solitary appreciation. In other words, it’s a bit of a grower.
[8]
Anthony Easton: This sounds pretty much exactly what I would imagine of a contestant from Norwegian Idol who went on to appear in Eurovision to sound like, up to and including the slightly cryptic utopian nature of the lyrics. It’s comforting to know that in this era of pliable borders, some things sit smack in the middle.
[4]
Alfred Soto: Ooh — sharp electronics! Berger’s wobbly high register, with its shades of Robyn, knows how to fire up the propulsion. Interrupting at key moments with talk-singing was shrewd too.
[7]
Brad Shoup: She’s got that freestyle push in the chorus, helped along with lacerating sequencing that balloons the brain. I’m not sure I buy into the young-again theme Berger dangles, but there’s something suicidally powerful in a “dead-end mission for the outer space”: elimination as escape. I’d say it’s apocalyptic, but I suppose it’s more like realist futurism.
[7]
Will Adams: I have no idea what the fuck Robyn’s up to anymore, so this’ll have to do.
[6]
Daniel Montesinos-Donaghy: A step back from the bombast of Eurovision, and a step back into herself and the claustrophobia that comes with it: “Help me escape the human race,” she sings, eyes set dead ahead, unfaltering in her desire to leave this petty Earth. A step back in some ways, but you can’t accuse her of lacking in drama.
[7]