Emika At Juno Download

Review: Experimental enfant terrible Emika delves deeper than ever before into her psyche to deliver Fever. In its original format it's a dreamy sound scape containing tortured vocals and spiky barbs of percussion - a bit like Kate Bush on downers. The re-edit gives it a more contemporary sound with a stepping rhythm cutting through the dreamy textures, while Tommy Four Seven offers an austere approach. The UK producer's take on "The Long Goodbye" features eerie, angelic vocals meeting with a menacing bass as chiming bells herald the apocalypse. By contrast, Substance's reshape of the title track focuses on the dreamy sound scapes, letting them unravel over a glitchy, skeletal rhythm.

Review: Back with her third single on Ninja Tune, Emika continues to impress on this exclusive Juno release. Her original of "Count Backwards" is an adventurous, smoky and sinister modern trip-hop song that recalls both Kate Bush and Skream at the same time! Kryptic Minds' mix takes the logical route of beefing up the bass even more, really pushing some thick subs into the echoey spaces, while Berghain don Marcel Dettmann goes the other way by double-timing the beat into a fast and scary techno joyride.

Review: With an interesting career already behind her, Emika steps up with her debut album for Ninja Tune. It's a canny mixture of pitch-black pop, bass and dead-pan vocals that draws its influences from the melee of contemporary beats. There's no doubt that the music is produced immaculately, full of detail, neatly balanced, and loaded with atmospherics. Emika's vocal delivery is a chilly one, and pop music was never meant to be weathered by the warmth of the real world. Ultimately, she has succeeded in crafting an album that is undeniably her own - highly recommended.

Review: The icy demeanour of Emika's music finds another outlet with this single, and once again her deadpan vocals hover amidst ominous surroundings. Both original tracks have their own unique slant on contemporary beats, while the textures and melodies exude a Tim Burton kind of darkness. It's a seductive take on pop music that deserves a huge audience but would undoubtedly scare them off. On remix duties, Brandt Brauer Frick opt for a tracky 4/4 workout, while Kyle Hall omits the bass from his skippy effort. DJ Rashad and DJ BMT smack it hard with a footwork stomper that shows what the genre can do with interesting sound sources.