Nous sommes bleu (da ba dee)…
[Video]
[5.67]
Joshua Minsoo Kim: The main hook reminds me of “Blue (Da Ba Dee),” which is exactly what’s needed for a song that sounds both dated and too straight-ahead. The beginning is a tease: the weaving of the vocal sample with the beat isn’t followed by anything of equal whimsy. Still, functional rapping and singing can go a long way.
[6]
Wayne Weizhen Zhang: You know how cold pizza can sometimes taste better than the original slice? “Ne Reviens Pas” is kind of like that. There’s not an original idea here, just a interpolation of Eiffel 65’s “Blue (Da Ba De)” done so cleverly it’s impossible not to enjoy. What Gradur does to the chorus (“Y a d’la weed/Y a du Jack/je fonce-dé toute la night et na-na-ni, na-na-na”) has no right to be as catchy as it is and recalls peak Rihanna. Look for this one at the club.
[7]
Edward Okulicz: Not that anyone involved in this was going for subtle, but I like how subtle the nods to “Blue” are — little snatches of the melody, similar Europop bass. It’s like how people talk about the tones in a bottle of wine, only this is a Bacardi Breezer — the effect is instantaneous, shameful, forgettable and, yes, pleasurable.
[6]
Brad Shoup: I wouldn’t have tabbed the Eiffel 65 without reading it first. I just figured that Eurodance is a sturdy scaffolding. This isn’t even a banger: slinkier than most dance-til-dawn songs, devoid of a trance hook but oddly insistent on processing raspy vocals.
[6]
Alfred Soto: I’ve a bias against pop songs that don’t let listeners catch a breath. All chorus/hook, “Ne Reviens Pas” relies on the most noxious vocal manipulation too.
[4]
Iain Mew: Ooh ooh! Someone should do a hip-hop version of “The Ketchup Song” next!
[5]