No connection to the Mariah single, despite our insistence…
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[6.43]
Megan Harrington: There are two distinct and relatively separate levels “Touch My Body” functions on; the most forward is Sistar as a quadrupled Mariah Carey, colorful and summery in their ode to getting a little love. Beneath that is a Gameboy soundtrack, some advanced level where little ghosts are popping up much faster than you’re able to gun them down. Frequently there’s an overlap between hook ups and video game terminology — players, scoring, cheats, action — Sistar drag and drop the two into the same frame.
[7]
Brad Shoup: Part of the fun is their freedom to smear the syllables in “body”. It becomes more playful, less insistent. Like, maybe you do, and you win a prize! The piano sounds monumental, but the winds of the saxophone of time wears it down to smooth hills.
[8]
Alfred Soto: With bubblepop electric sounds, horns mixed like on Alice Deejay’s classic, and scratches, this crackles like premium Britney. You can touch their bodies but only if you move like this.
[7]
Patrick St. Michel: It’s pretty crowded for something so blatantly aiming for that “song of the summer” title — saxophone, yelps, deep drum hits on the chorus, and a whole bunch of little silly touches added in for the rap. None of these little details, though, really manage to make “Touch My Body” jump out. It’s a serviceable pop song with a good chorus and an overblown ending.
[6]
Frank Kogan: Problem I have with Sistar summer songs is that they’re always too much the summer breeze. This one’s got little aching Mariah-like embellishments from Hyorin and a few that are better and breezier from Soyu, as well as a kibitzing sax to complicate matters slightly and a cheery rock ‘n’ roll chorus; but nothing really touches my viscera till Bora puts on an inviting HyunA pout and asks us, honestly, here here here? Or there there there? (Says one of the lyric sites.) After three lines she’s gone, and the refreshing little breezelets return.
[5]
Micha Cavaseno: There’s a couple of petty reasons why I’m hating on this track. The first is that the intro bares awful similarity to a sample from an early Jhene Aiko record that I really like, so suddenly my memory is getting side-swiped by a giant party bus who doesn’t need to care. But it’s the sheer VST-ocity of the record. I know that the saxophones, the “thunderous” piano chords and the kick drums are all studio contraptions, the whole lot of it. But does it have to feel so cartoony? Also, I can take a goofy hook with the best of them but… It’s not happening, not here.
[4]
Madeleine Lee: The shy, sweet girl from “Loving U” shows up at the pool, having traded in her old ersatz Christmas parade horns for a slinky saxophone sample and some audacious pickup lines. It plays out as kitschy as you’d expect from that setup, but it’s got something else, too: a sense of humour.
[8]