Here to tell you how fond they are of this single: a bunch of men!
[Video][Website]
[7.29]
Patrick St. Michel: The first minute of this song is an excellent introduction to Angel Haze for anyone who hasn’t gotten smart to her yet. She laps the beat as her pace quickens, and then shifts into a laid-back flow that sounds just as good as her rapid-fire stretches. The beat should be the highlight of this, but Haze’s delivery overpowers it as she sneers at everyone around her. Get familiar.
[8]
Iain Mew: The beat’s combination of stony finality and occasional burbles of uncertainty is great. Angel’s quick fire inventiveness over it is something to behold all the way through. There’s still one show-stopping moment that stands out, though, because “she come from an island or a desert or some tundra shit” is seriously, inexplicably amazing.
[9]
Alfred Soto: Money is all she’s after, of course. Fake shit is shit. But she trampolines off those tropes in one particularly motormouthed stanza: she’s a tracker, a cheetah, and faster like a pre-teen boy in the church with a pastor. Every other verse gives us a intonation to savor, a vowel to linger over. She’s a match and then some for the spare piston beats. Play loudly. Play it over and over.
[8]
Anthony Easton: “Like a pre-teen boy in a church with a pastor” made my jaw drop, the great line about the tractor and green made my head bop, and I was actually sort of shocked when she mentioned diarrhea. All of this and the first hip-hop mention of tundra in perhaps forever… all of this, spit out with the fury of an AK-47.
[8]
Brad Shoup: The track’s appeal is exclusive to the triple-time flow she’s previously deployed in small doses. And if dumb jokes — doo doo and kid-diddling! — approaching a sonic boom were enough, “Look at Me Now” would have been a 12. “Werkin’ Girls” can’t boast an element like Diplo’s sonar bleeps. Instead, it offers boxes falling off the warehouse shelf.
[4]
Jonathan Bogart: Her hyperverbal, hyperactive flow nearly gets the better of here, density standing in for complexity. But there are still enough angry religious references and left-field trash-talking to make for a solid Angel Haze song.
[7]
Will Adams: The production of “Werkin’ Girls” has a bracing acceleration that matches Angel Haze’s own crescendo. Booming percussion, cello strikes, and a skeletal xylophone keep up with Angel’s rapid pace changes. I wish it continued for another five minutes to see the intensity mount even more.
[7]