We’ll find some more cumbersome artist names, but it’ll take a while…
[Video][Website]
[5.25]
[6]
David Sheffieck: Angel Haze hasn’t had the smoothest year, but goddamn is she going out on a high note. This is easily the best rap-rock hybrid in a year full of failed attempts (hi, Kendrick), an electrifying reminder that there’s genuine potential in this sort of crossover, and a necessary rejoinder to anyone who wrote off one of the most talented young rappers in the game after her debut disappointed.
[9]
Crystal Leww: Remember how Angel Haze released an album earlier this year? Yeah, neither do I.
[4]
Scott Mildenhall: Whose voice is a weapon? Angel Haze’s dependably is, but whoever owns the second male one sounds like Olly Murs reimagined for American R&B, and that’s not the only reason they needn’t have turned up. “Weapon” is dirgy and hookless, coming across aimless. The introduction of an ominous chorus of Dan Smiths is always a bonus, but in an environment so lacking in dynamics their effect is limited.
[5]
Iain Mew: Hammy Bastille dude very much wields his voice as a weapon (it Hurts), but with the clattering armour and a blistering Angel Haze as advance party the overall effect ends up impressive. Whichever one of F*U*G*Z and Braque is the singer pokes around once the job is already finished.
[7]
Katherine St Asaph: A question I’m not sure needed answering: what sort of weapon is blunt, heavy and boring?
[2]
Patrick St. Michel: The best they can do with these voices is make a goofy mismatched electro clunker?
[4]
Brad Shoup: There are acres between Bastille’s ill-considered reading and Angel Haze’s earnest one. She nails a K-Dot impression on the first verse; the pitching on the second verse is, sadly, even closer. Bastille fucks around with the toms, the producer paws at the drum machine, and no grandeur comes out.
[5]