I wrote this on The Singles Jukebox about Hey QT:

“Here’s what I love about “Hey QT”: the way that immense witch house drone has been cut and stretched into something that sounds almost like pop music, yet completely not. I love the pound-shop-toy cheapness of the sound effects, the cleanness of the clipped synth shots, the way the chorus builds up those different layers of melody and slots them together. I love the J-pop android cutesiness of the vocal, the barely-contained excitement of the estuary accent hiding underneath; that mix of human and alien, innocent and sexual, artificial and sincere. I love the complete lack of concern for coolness or authenticity. Best of all, though, is that build-up and drop into the rush of the chorus, the way that one synth line pulls you up, then twists into a thousand different directions at once. It’s like nothing I’ve ever heard. Here are some things I don’t care about: the silly energy drink concept, the live show, whether it’s pretentious/postmodern/ironic, whether Pitchfork likes it, whether it’s just playing at being pop, whether it’s allowed to join the pop club. These things all seem to have made some people angry for some reason. That’s their loss.”