Minus points for the breakdown, which almost excuses the lame dude who you tell us is ignoring you, there in the corner, over there in the spotlight.Įdward Okulicz: Taps the same intense angst of watching the one you love with someone else that swelled up in the climactic line of “Be Mine!” and then makes an entire chorus out of the same substance. This might have given us quite a rise back in ’07, but right now it just sounds like vicious backtreading. Sadly, it doesn’t go any actual where with them, but merely cashes in on the Robyn brand name with typical melancholy sheen and arpeggio synths, sung in quite dull fashion over well-EQ’d electro backing. Mallory O’Donnell: On a superficial level, this is a definite improvement over the rinky-dink nonsense of “Fembot,” since it plays on Robyn’s dubious virtues rather than her obvious flaws. Stay in that damn corner, Robyn, and stop pestering the couple having a good time with your tiresome need to constantly bring your “heartbreak” to the discotheque.
Ask me again in a few months and this may well be a 10.Īlex Macpherson: Not as horrific as “Fembot”, merely very boring. Add in the simple-but-succinct lyrics - “a big black sky over my town,” to take one line, barely escapes cliche but nevertheless sums up verses’ worth of emotional response - and Robyn’s delivery, and you have near-perfection. Only this time, the beat won’t let up, there’s a faraway plinking piano, and the whole scene is inexplicably pretty. It’s midnight, the last dance for some reason (you’re desperate for more hours), and all you can do is watch him in strobe-light closeup as months come to a close. Katherine St Asaph: I keep falling for these dance singles, and this is why. Pharrell WilliamsĪnd we’re not quite sure what the single is, so let’s go bet-hedging… Donnie Trumpet & the Social Experiment.
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