Yes We Do (Remix)!
[Video][Website]
[6.00]
Micha Cavaseno: Future Brown are the royal rumble of R&B/club tricksters Nguzunguzu, experimental renaissance woman Fatima al-Qadiri and the bearer of such a poor moniker, grime/juke aficionado J-Cush. Recent signees to Warp, this lot represent the desire to blend the experimental with the clubby, while being men and women of color (as the name implies). While the results have been interesting, they’ve yet to fully find a “sound” due to the balancing act they difficultly negotiate between genres and aesthetics. “Wanna Party” originally debuted with Tink contributing verses in addition to her present hook. But while she navigated deftly, I will always find her rapping a bit cliché-riddled for my tastes. 3D Na’Tee, however, is a much fiercer contender and provides a dazzling performance, making this remix the best record I’ve heard out of this camp yet. Here’s hoping that the curse of the supergroup is not in their future.
[6]
Patrick St. Michel: The production is fantastic, and pulls off the impressive feat of injecting dashes of each individual party without turning into a clattering mess. Considering Internet-centric artists like the ones comprising Future Brown can often sound overbearing all alone, that’s a special accomplishment. But I’m not totally sold on the addition of Tink and 3D Na’Tee… they sound fine, but also never meld with what the group behind them is up to.
[7]
Alfred Soto: Tink, wielding her delicate timbre like a stiletto, doesn’t sound like she wants to party so much as indict whoever doesn’t give her respect. The others keep up, although the beat goes for a post-“Lollipop” hallucinatory daze that doesn’t quite register.
[6]
Anthony Easton: I have no idea what is happening in the instrumentation of this, the sinuous grind that makes everything sound just a little bit ominous — it’s like something between a theremin and a gamelan. Surely entirely studio-made, but I am in love with it. An extra point for Tink’s flow.
[8]
Brad Shoup: They’ve located the club outside, sending subways zooming past, stringing up cathedral bells, cracking the floor to let the steam through. The architecture’s definitely more interesting than the assemblage.
[5]
Katherine St Asaph: I’m not sure “Pour It Up-except-more-diffuse” was an idea worth exploring.
[3]
Crystal Leww: We’re nearing the end of 2014 now, and a little over two years ago, Chicago landed right in the middle of plenty of exciting conversations about rap music. It seems like a lifetime ago, as Chicago rap music has quietly ceded the conversation even within the Midwest, where Detroit, led by Dej Loaf, is taking the charge for emerging hip-hop. Sneakily, Tink has emerged as resilient, signed and supported by Timbaland and generating buzz on larger and larger outlets. Listening to something like this, it’s easy to understand why: she’s adaptable while retaining every bit of a sense of her charming, spirited, and youthful self. She slays on the entirety of the original, but here on the remix, with nothing more than a couple of cackles and the hook, she still manages to pull every single bit out of that vocal. Her stutter flows right into the slur, and it’s hard not to envision a wink on her face as it progresses. Future Brown make productions that sound like no one else, no doubt stemming from a history of focused work on instrumental originals (especially in the case of Al Qadiri), remixes or mixes. They’ve pulled the best out of each, though: this sounds like the future for pop, not blog.
[7]