“All glitch and skitter”
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[6.29]
Ramzi Awn: Echoes like an 808 and tiny piano beats make for a surprisingly good hook, not to mention the vocals. Ms. Aguilera might agree, and hopefully approve.
[8]
Patrick St. Michel: Really like how the music sounds like it is made out of the same substance of a Stretch Armstrong doll. Not sold on that rap, though.
[6]
Iain Mew: I love weird synth sounds but especially ones that sound like pneumatic machinery, and the ones in “Nu Pune la Suflet” are up there with “Vospominanie.” The rest of it is a bit of a mess, especially What’s Up meeting a surfeit of effects and deficit of charisma, but I can forgive it for the squeaky popping.
[6]
Katherine St Asaph: To these ears, passable radio fare circa 2010, slotted by Enrique Iglesias’ “Tonight” maybe — when minor-key hooks over Major Lazer bubble-production and “Two Weeks” piano was enough, and when Jaysean Derulazzes sounded at home in the territory. Extra point because, dammit, I miss 2010.
[6]
Micha Cavaseno: There’s some unusual giddiness in so rubbery a production, especially considering how steely-eyed Ruby’s role. It provides a pretty good effort in conveying the relief from dusting off one’s shoulders and moving past — at least, until What’s Up, or rather Who Sent These Guys show up, and meander up the song pointlessly.
[5]
Will Adams: Phew, the opening melodies had me fearing for a “Dark Horse” retread. “Nu pune la suflet” is a touch warmer but still features a throwaway rap verse. Ruby is the star; you can practically hear her sneers.
[6]
Scott Mildenhall: All glitch and skitter, and accordingly catchy. A far from dynamic turn from What’s Up is there for an unnecessary suggestion of balance — a million miles from the finely poised drama he and Andra created on interplay paragon “K la Meteo” — but it does at least prevent Ruby’s repetition wearing thin.
[7]