Here we go again…
[Video]
[4.62]
Vikram Joseph: These are your rock faves? Leaning heavily on rhythmic grind, the directionless amorous braggadocio is increasingly grating. Damiano David’s vocals are a deeply un-sexy two-note bleat that largely just mirrors the main riff (hardly inventive in itself). Maneskin need to find another dimension, and to be frank I would be pleasantly astonished if they do.
[3]
Ian Mathers: I did not expect an Italian Eurovision winner to sound like a cut-rate Franz Ferdinand with more annoying vocals. To be fair, what I did expect was way more annoying than that, so… they win?
[6]
John S. Quinn-Puerta: It took me about three weeks to get past the first ten seconds of this.
[2]
Leonel Manzanares de la Rosa: Oh God, how quickly did they resort to self-parody. Love the basslines, though.
[5]
Edward Okulicz: Proof that a good bassline can’t always take you to orgasm if all it’s taking you to is rambling. And not sexy rambling, either.
[4]
Thomas Inskeep: As evidenced in “MAMMAMIA,” Måneskin’s secret weapon is Victoria de Angelis’s fuzzed-out bass; their secret Achilles’ heel is singer Damiano David, whose only gear seems to be “over the top.” The thing to remember about the Darkness, Måneskin’s clearest antecedent, is that after their initial splash, they didn’t exactly have an enduring career.
[6]
Katherine St Asaph: Are we sure this is Måneskin and not a 13-year-old boy’s karaoke thereof?
[5]
Scott Mildenhall: “MAMMAMIA” keeps Måneskin firmly in the territory of pastiche, pulling similar moves to the ones the world has taken to this year. Continuing to repeat a trick can cast it in a new light — this suddenly sounds a lot like Lil’ Chris — but the lack of deviation dilutes the excitement. Taut vivacity is fun, but all flames burn out.
[6]