2024-01-11 13:56:35
Since their debut album I Can‘t Let Go (2022) convinced Suki Waterhouse with standlone singles like Every Day’s a Lesson in Humility and Nostalgia or the EP Milk Teeth without any effort – and join in OMG further.
In contrast to the fabulous benchmark longing that preceded 2023 To Lovewhich, to a certain extent, achieved the ideal spherical, elegiac, longing solidarity between Sharon Van Etten and Angel Olsen, the British Waterhouse (with songwriting help from Natalie Findlay and the renewed producer aegis from Jules Apollinaire) now switches back to the “jubilantly sleazy pop“-Modus.
It’s not quite as striking as this classification or the shouted-out title suggests, nor is it as excessively evocative of the hedonism of a sweaty night of partying as the single’s artwork illustrates OMG so controlled over a densely shimmering synth carpet, making a slow beat stomp, danceable, opens up in the chorus, and is intended to be a sing-along anthem for the club – but doesn’t have the final melodic killer instinct: the melody is nice and catchy, but it doesn’t really force it and, apart from the basic attitude, it can be forgotten relatively easily without any real imposing effect.
But that’s fine: OMG Doesn’t have to be an inspiring smash hit with an excess of serotonin in order to do nothing wrong as a really successful format radio pop of the enjoyable variety.
similar posts
Print article
1705078534
#Suki #Waterhouse #OMG #HeavyPop.at
