Charlie Puth ft. Hikaru Utada – Home

It’s Collaborations Thursday!

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[7.43]Claire Davidson: I’ll admit that I dreaded covering this song when it appeared on this month’s roster; I have never found Charlie Puth’s brand of precociousness remotely endearing, and the bizarre grab-bag of pedigreed names he managed to obtain for his most recent album only made me roll my eyes. I’ll be damned, though, if he didn’t manage to stumble upon something genuinely tasteful with “Home,” an understated ballad that sees him mourning the lost presence of an ex against melancholic chimes and a chorus of pillowy multitracking. I’m glad the track allows J-pop star Hikaru Utada to at least partially sing in their native tongue as well: the language barrier only further emphasizes the somber distance of the lyrics, and Utada’s naturally calming presence does a lot to ensure that a feeling of mutual affection is still present between the lovers. The song isn’t perfect — I kept waiting for a more robust melodic flourish on the chorus, and Puth’s more nasal timbre can’t help but sound slightly insincere — but it’s nice to see that the man behind “let’s Marvin Gaye and get it on” and “you turn me on like a light switch” has finally matured a bit.
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Iain Mew: I gave “Marvin Gaye” a [6]; I can get with Charlie Puth going all out in a duet. In this case that means going all out on melting into the background, joining in on Utada’s recent streak of phenomenally tasteful and calm music with tender emotion coming through from a millimeter below the surface. The song is audibly a home they built together, and for Utada it’s one they sound as great as ever in. And after so many international match-ups with different fanbases where the guest sounds awkwardly tacked on, there’s something very charming about hearing Puth as lead singing even a few backing vocal syllables in Japanese.
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Alfred Soto: Da Puth’s sincerity is on occasion winning, and, though I expect that he and Hikaru Utada recorded their parts separately, I hear a syncopation in their parts that approximates kith and kin. He’s enamored with the dull parts of ’80s arrangements — get that sax the fuck outta here.
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Will Adams: Charlie Puth settling into easy listening has been a relief. We’re a long way from his first two singles, which established his axes as weepy and corny. Now, he’s grown up, focused on the home, and making wise choices like bringing Utada into the mix. Their presence is the real treat on “Home,” their half-English, half-Japanese verse displaying their knack for delivering strong emotion quietly.
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Nortey Dowuona: I just found out about this absolute genius in terms of drumming, who somehow has also played with Stevie Wonder, and drummed his ass off even with his in ears gone. Let it be known he played behind Tems, Steve Lacy and Christina Aguilera. He even produced this absolute gem for Emi Seacrest. Let it be known he is the reason this song is good, not Charlie. (Utada sings well, too.)
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Ian Mathers: Really glad that Utada brought Puth up to their level rather than vice versa. Which is possibly unfair; I’ve only ever knowingly heard one song by him, and it was dire, but it was also a decade ago. Maybe he’s been steadily improving? It’s just that… “Home” really sounds like a Hikaru Utada track, to the point that if one swapped the “ft.” here I wouldn’t bat an eye. Not a criticism!
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Andrew Karpan: Oh, very fine, well done on all accounts, I just didn’t think this Charlie Puth quiet storm Uber car ride jam would be, umm, occasionally, Japanese.
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