It’s not exactly what you think…
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[6.00]
Martin Skidmore: Another pleasant Swedish pop single, sounding rather derivative of a lot of old pop. It’s kind of stilted, as if its parts haven’t been very skillfully fitted together, but mostly it skips along with some bounce.
[6]
Anthony Easton: Reminds me of the clean-girl-doing-dirty-things genre perfected by Gainsbourg with a little bit more indie grit—but mostly because Jag Kommer sounds a lot like I’m coming, in how she says it.
[6]
Ian Mathers: So, does “I’m coming” have the same double entendre sense in Swedish that it does in English? The way Maggio sings it in the chorus here (repeatedly, rising to the brink of some… emotion) makes me think it does. She actually has a storied history with the Jukebox, and while she’s always been at least competent, “Jag Kommer” is the first song of hers I’ve liked as much as “Dumpa Mig,” and for opposite reasons; this one soars where that one twinkled, and I haven’t heard such a great, propulsive use of an identifiable drum kit on a pop song in quite a while.
[8]
Katherine St Asaph: Perfectly serviceable coquetry, delivered in a breathy voice with the trills and coos your crush is supposed to like and draped over percussion flutters like gathering skirts and guitars that graze lightly over the edge of your real feelings. In other words, it’s all performative — all an act. And it just takes a quick trip to Google Translate to see how well that’s working out.
[5]
Jonathan Bogart: Based strictly on the sound: bright power-pop is always nice, but it’s immensely dependent on when, where and who it strikes if it’s going to have any chance of hooking a listener who’s not already deeply invested in Veronica Maggio. Once upon a time I thought I was, but it turns out I just liked “Nöjd”.
[6]
Jer Fairall: A charmingly excitable vocalist, some chugging Strokes-y guitars and a sweet string bit sweeping its way in to make a grand exit, yet when it’s all over it still feels like nothing’s really happened here.
[5]