

One night to be confused One night to speed up truth We had a promise made Four hands and then away Both under influence We had divine scent To know what to say Mind is a razor blade To call for hands of above to lean on Wouldn't be good enough for me One night of magic rush The start: A simple touch One night to push and scream And then relief Ten days of perfect tunes The colours red and blue We had a promise made We were in love To call for hands of above to lean on Wouldn't be good enough for me And you You knew the hand of a devil And you Kept us awake with wolves teeth Sharing different heart beats in one night To call for hands of above to lean on Wouldn't be good enough for me
One night to be confused One night to speed up truth We had a promise made Four hands and then away Both under influence We had divine scent To know what to say Mind is a razor blade To call for hands of above to lean on Wouldn't be good enough for me One night of magic rush The start: A simple touch One night to push and scream And then relief Ten days of perfect tunes The colours red and blue We had a promise made We were in love To call for hands of above to lean on Wouldn't be good enough for me And you You knew the hand of a devil And you Kept us awake with wolves teeth Sharing different heart beats in one night To call for hands of above to lean on Wouldn't be good enough for me
“Heartbeats” foi lançado inicialmente na Suécia em 27 de dezembro de 2002 como o primeiro single do segundo álbum de estúdio da dupla, *Deep Cuts* (2003).
A canção recebeu amplo reconhecimento crítico, figurando na posição 15 na lista “Top 500 Songs of the 2000s” da Pitchfork Media e na 87 na lista “Top 100 Songs of the 2000s” da Rolling Stone.
Em outubro de 2011, o NME posicionou “Heartbeats” em 95 no ranking “150 Best Tracks of the Past 15 Years”, destacando sua atmosfera “assustadora” e “eletrônica”.
Críticos elogiaram as vocais hipnóticas de Karin Dreijer, comparando‑as a Björk e Siouxsie Sioux, e ressaltando a combinação de synth‑pop, batidas minimalistas e eletrônica como uma “obra‑prima em movimento”.
A música foi reinterpretada por diversos artistas, incluindo versões de José González, Royal Teeth, Scala & Kolacny Brothers, Amason e Ellie Goulding, mostrando sua influência duradoura no cenário musical.
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