Chelsea Jane – Where The Boys At?

From Rex, it’s this year’s The Opposites…

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[5.00]Iain Mew: Getting directed to this with the inevitable Iggy reference, it was hard for me to take it seriously through its extensive similarities to “Work.” But this won me over, namely the way the Connie Francis sample ghosts in and out and the fun energy that Chelsea Jane brings even when point-scoring over technique. Her “ha ha” bits put it more into great Charli XCX solo territory than that of “Fancy.”
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David Moore: Haven’t quite figured out whether Connie Francis makes Chelsea Jane dorky or Chelsea Jane makes Connie Francis cool (and I say that even though I would bet Connie Francis is cooler than Chelsea Jane). Regardless, Chelsea Jane strikes me as a cool dork, or (more likely) a dorky cool person. Which one is Iggy Azalea again?
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Crystal Leww: I’m glad that Chelsea Jane’s rapping in her own accent, but not appropriating Southern black culture is a minor prerequisite for enjoyment and not the only requirement. “Where The Boys At?” is a mixed bag: I can get behind the idea that there needs to be more women in hip-hop, that there is a real need for men to step aside to create space and that “femcee” or “female rapper” is a pretty reprehensible genre invented by the worst of hip-hop fans. But the best women in hip-hop rule at what they do not because they’re going just as hard as the dudes but because they are fucking vibrant personalities that don’t sound like anyone else. This is crotch-grabbing without the wink or the giggle and just doesn’t pop with nearly enough personality. There’s definitely enough space for more than just one Aussie lady, but I can’t help wanting to listen to the delightful Tkay Maidza instead.
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Alfred Soto: Good for Jane to start with the call “Drums!” because those snares do sound sharp and promising. And she delivers: pointed, assured. The fadeout’s too long and she’s not saying much but I love her saying it.
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Anthony Easton: This is halfway between Lana Del Rey and a number of female rappers, ironically reclaiming the erotic nostalgia of a time that never really existed. Most of the points are the quoting of Kelis.
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Brad Shoup: The important thing to remember is that she’s talking about Australian rapping boys, and must be scored accordingly.
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