Not exactly promising the world to her…
[Video][Website]
[6.20]
David Raposa: I’m guessing this wasn’t the first track & won’t be the last track to shamefully honor “Wearing My Rolex”? Not that I mind all that much.
[7]
Alex Macpherson: So the good girl is Moloko’s Róisín Murphy and the rudeboy is Wiley, and this track is all about “The Time Is Now” meeting “Wearing My Rolex” and hitting it off spectacularly. The chemistry is superb: just enough heaviness in the bass, just enough lightness in the beats. And, given the surfeit of ham-fisted samples that we’re currently enduring in pop, it’s refreshing to hear one used so well: instead of slamming a familiar refrain front and centre at the expense of everything else, Murphy’s voice floats behind the track, just out of reach and even more alluring for it.
[9]
Doug Robertson: Did he really say “Let’s go make babies, girl”? *Rewinds* Oh. He did. Take the rap off and this would be amazing, albeit in a well put together jigsaw kinda way, rather than anything especially inventive, but the apparently irony-free, knuckle-dragging lyric drags it way down. Moloko deserve better than this.
[4]
Martin Skidmore: DThis is either very jerky or someone has cut it up to fit the beats – either way, it’s rather jarring. The music has a little bounce, but it’s kind of basic, almost crude. We’re going to get plenty of dance-grime this year, but this isn’t a particularly good example.
[4]
Jordan Sargent: After all of the horrible electro-grime crossover attempts that have trickled out this year, I had completely given up on finding a worthy successor to “Wearing My Rolex”. But this succeeds because it doesn’t go house with a wink and a nod to Calvin Harris. Instead, it’s house done right: the beat is unabashed about being massive, it drops out and kicks in at the right times and there are alluring but distant girl vocals. Now I wait for the Crazy Cousinz remix.
[9]
Jonathan Bradley: It’s a scrappy but devastating display of brute strength: two bars of distorted bass, which pummel with the ugly force of a Panzer battalion, and a pitch-shifted vocal flatly repeating the title over and over, inelegantly but gleefully capping off the assault. Sincere’s rapping does pretty much nothing. To tell the truth, it’s left me feeling a little dazed.
[7]
Martin Kavka: If this is successful, it’s depressing for two reasons: 1) it means that there are women in the UK who think that men who tell them “let’s make babies, girl!” are quality mating options, and 2) this will be the last Top 20 hit featuring Róisín Murphy for many years. Still, it’s not hideous.
[5]
Tom Ewing: Solid, dumb electro-glam “Rolex”-a-like with the perennially overrated Moloko roped in to play the DSK role: not surprisingly, I like this more than its source. Anyway, once I’d scratched the google itch and identified the sample it was the robovoice that grabbed my attention. The “rudeboys get the good girls all the time” bit would have induced thrashing beta male rage in my teenage self: with the wisdom of age I can tell you they tend at least to get the good hooks.
[8]
Additional Scores
Ian Mathers: [4]
Ulrik Nørgaard: [5]