I wonder if he heard that Joel Corry song and thought, “Well, time to come out of retirement”…
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[6.71]
Scott Mildenhall: Even more timely and even more eternal than the current hit that samples Stromae’s first. The “renewed appreciation” for routine workers brought on by the pandemic didn’t exist, while the equally illusory “return to normality” entails amplified disrespect of those in hospitality. He’s not the first to make this point, but after so long it’s great to hear him do so with characteristic idiosyncrasy. The off-beat squeaks and theatrical shifts in voice hammer home his thrust, as thoughtfully goofy as ever.
[7]
Iain Mew: Eight years and, clear most of all as the cut-up beat staggers forward, he’s come back sounding exactly the same except more fucked up. Which is perfect.
[8]
Katie Gill: I’m glad that the song celebrating the underappreciated workers of society is actually REALLY GOOD. The entire song has this really fun hesitation, as if everything’s just half a second too slow, just riiiiight off-beat, like the song is looking around and asking ‘it’s okay to do this, right?’ I’m sure that’s going to drive some people bananas but for me, it works really well. It’s fun! The vocals are so deep and lush, that rap break is charming, the whole thing just comes together in a way that’s absolutely delightful.
[8]
Nortey Dowuona: Stromae returns, with the jingling guitars and pulsing drums, his warm, husky voice striding purposely through a lurching mix, which he marshalls with tightly spun raps and a slippery synth line that lopes uncertain. But Stromae is calm, gently setting the off center mix in his hands and gently moulding it slowly until it finally calms, confident in its strange, offbeat charms.
[6]
Claire Biddles: The slighty delayed drag of the central beat is giving me motion sickness.
[5]
Jeffrey Brister: As someone who grew up immersed in cumbia and Tejano music, I’m predisposed to liking this. Its unquantized stutter feels charming, the and the off-kilter arrangement choices just make it more likable. I’ve got nothing deep to say about it, it’s just a very pleasurable listen.
[7]
Alfred Soto: The fart-squeal a mild annoyance, “Santé” improves from there, its message indecipherable to anyone not glancing at a lyric sheet but insistent anyway, a welcome addition at a public celebration.
[6]