Also in titles that can be interpreted as probability of breaking [5.00]…
[Video][Website]
[4.43]
Thomas Inskeep: Apparently this is the leading edge of “trapsoul,” but to me it just sounds like severely chopped & screwed R&B, like Massive Attack producing Trey Songz. Depressing lyrics, but a good groove.
[5]
Iain Mew: He calls it trapsoul, but good trap has drama, energy, pizazz. This sounds like an attempt to add intrigue to a dull song by gently submerging it under some watery beats.
[4]
Alfred Soto: The swirling Dope production swathes a confident vocal as much indebted to Miguel as it is to Usher. I’ve got no use for the distortions — Ciara was using those as hooks ten years ago. I cock my eyebrow at Tiller’s advice, which sounds closer to leering. What he doesn’t want her to do is what he wants her to do for him.
[5]
John Seroff: ‘Don’t’ strikes me as a drowsy version of another sensitive loverboy debut: Trey’s “Can’t Help But Wait.” There are other obvious influences on display; anyone can hear Jeremih in the vocal timbre and tempo, dreamy Aaliyah-era Timbaland in the production, syrupy Swishahouse hallmarks throughout. Basically, this sounds like any number of my favorite things and sometimes originality is overrated.
[7]
Micha Cavaseno: Curious to see the miserabalist R&B edge of Drakk finding so many devotees coming into their own almost 5 years after his own cohesive take on this sound was made definite. That said, there’s about nothing curious or noteworthy about this kid.
[1]
Katherine St Asaph: James Blake et al have parachuted into this style often enough that I cannot quite fault someone with an actual R&B background claiming it. If only what he replicated wasn’t the slooooow-paced boring part.
[4]
Jonathan Bogart: The instrumental is about ten times more interesting than the entry-level chat-up over top of it, and it’s only patchily interesting. Using the title as a one-word response feels cheap, but appropriate.
[5]