Adriane Pontecorvo: Driving, ’80s-style synthpop laced with vapors, sex. and recklessness. Marie Fisker’s voice switches between crystal clear and smoky, going from low and calm to high moans and back in a beautiful crossing of the spectrum. The video follows the same path as Fisker’s voice, blurring earthy realism and the uncanny: a grim nighttime walk through concrete streets and tunnels leads to a supermarket full of nude shoppers and erotic encounters on boxes of detergent under a hail of dollar bills. It’s a sensual, surreal piece with an electric charge to it. [8/10]
Dan Kok: Trentemøller is the kind of electronic producer who puts out singles and album at alarming speed. EPs, remixes, and one-off singles are more or less constantly streaming from him and those like him. The practice makes for a massive and impressive catalog but also often makes for a hit-or-miss quality. Sometimes it can feel like a lot of the same and “Redefine” for all it’s charms, falls into that camp. The track revolves around a dark, post-punky bass line and a pulsing, repetitive synth layed on top of an uninteresting boom-tis beat. The vocal delivery from Marie Fisker is fine, but has the same airy, distant quality as so many other dark-electronica plus female-singer songs have. There’s not much terrible to say about the track, but there’s not much spectacular either. [5/10]
Max Totsky: “Redefine” is haunting in a very grounded way, with the bass crystal clear, the snares sharp, and the vocals clean and slightly lethargic. The only distortion appears at the very end, and it seems to only be a vehicle that lets the song wither out. But even if there is nothing on this track that will drop your jaw, it’s still very smooth, enchanting, and eerie in a very refined way, all traits that have as much to do with Trentemøller’s production as the swooning vocal melody that gets slightly more shrouded towards the refrain but maintains palpable potency throughout. [7/10]
Andrew Paschal: “Redefine” uniquely combines strands of dream pop and more straightforward rock, with a driving Peter Hook-esque bass line that anchors the song even as the vocals soar through the ether. Trentemøller relies quite a bit on said bass line, actually, which remains in the forefront throughout the track and which is the main aspect that lingers after the song ends. The multi-tracked, echoing effect on the vocals, by comparison, is not quite enough to make the melody intriguing, but “Redefine” is still an enjoyable listen. [6/10]
Chris Ingalls: Instrumentally, this is rich, luxuriously produced stuff. The synths are lush with a variety of textures adding enormous dimension to the composition. The song itself is a bit generic, as are the vocals, but the layers of keyboards and drum programming more than make up for any lack of imagination elsewhere. [7/10]
Michael Pementel: Lots of beeps and and bass that create a lo-fi haze with so-so vocals that end up as more of a background to the instrumentals. If this was a purely instrumental track, I could get behind this more, and it isn’t that the vocals are bad, they just take away from the instrumentals, which are strong and appropriate for portraying a variety of moods. [5/10]
Scott Zuppardo : Anders is back with a spooky female vocal, super funky, come clean bass line, and a simple drum pattern. As far as EDM goes Trentemøller is the cat’s hindquarters. Keeping things spastic and sandwiched tight in equal parts Joy Division to English Beat. The video emits a Clockwork Orange meets Go feel in as sexy a way as humanly possible, and more naked women. [7/10]
Landon MacDonald: A pulsing, rhythmic, electronic pop song that could be an Xx b-side and synth that could soundtrack a Boards of Canada terrain. The dark piano and bubbling electronics on the bridge plus a loose melody will reward repeated listening but ultimately, after paying tribute to its influences, the song struggles to build on them in any way. [5/10]
SCORE: 6.25