The synth pop of Lights’ debut ‘The Listening’ hardly made her jut out. Thus, it’s unsurprising that she’s tried to incorporate some ear-catching substance into follow-up ‘Siberia’. Unfortunately though, this seems to equate to scattering cynically phoned-in dubstep moments amongst the fl uff-light choruses and beats (‘Where The Fence Is Low’, ‘Everybody Breaks A Glass’). ‘Toes’ does work, but only because it sounds quite a lot like Robyn. As a writer, producer and multi-instrumentalist, there’s probably still a great pop star somewhere inside Lights, but, sadly, ‘Siberia’ is lacking any genuine spark.