Not that Su either.
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[6.62]
Scott Mildenhall: He is Su! Not this Su, though, and that can only ever be a good thing. In some ways this is just as monotonous as “Started From The Bottom” or “Pour It Up”, but what’s vital is that it also has what they lack: urgency. The feeling that something important is happening right now (for that is what urgency is) and that you should be paying attention. In truth it’s probably not all that important, but then neither is that.
[7]
Anthony Easton: I love the drawl of this, and the subtlety of how the vocals float over the bed of low key music. I almost forget the words.
[5]
Iain Mew: After a rapid-fire opening to assert his place, IAMSU! sounds at ease riding around, but the backing track tells a different story. The way that it comes to sudden halts and races like he’s dodging obstacles adds most of the excitement to be had, and there’s enough gestures towards the same in the words (“more money I make the more money I spend”) that it doesn’t clash.
[7]
Brad Shoup: As you could guess, the singing is the coldest aspect. Dig the tinny piano cast like lobster traps. Search in vain for that mob.
[6]
Jonathan Bogart: The repetitive, blunt-force energy of late-period Chicago hip-hop applied to the somewhat springier, more free-range Bay Area scene. That’s what I hear, anyway; I await my inevitable schooling from those better versed in the lore of localities.
[7]
Rebecca A. Gowns: This song is so fun. I love the layered voice samples weaving in and out of the beat. He’s cute and I like his voice. Here’s an even newer, slinkier single: Jennifer Aniston. Gimme more.
[9]
Jer Fairall: His breezy, confident flow compensates for the lack of anything worth saying, at least in this instance, just as the razor sharp buzz of the accompaniment does its best to make up for the lack of a memorable hook. That this newcomer warrants “one to watch” status on the basis of his potential rather than any startling accomplishment is worth noting as much in his favour as it is as a criticism, though he’s shrewd enough to throw in an uncannily Drake-ian bridge in the interest of a more immediate commercial viability.
[6]
Daniel Montesinos-Donaghy: IAMSU! is a technician with a slippery flow and smart ability to strengthen the 1000mph tracks he raps on by sinking deep into their open spaces. Unlike many technically-minded rappers, his voice rarely feels like a secondary thought, acting as a human center to the chaos around him — he never feels like a kingly presence on his tracks as he talks about fucking and spending, instead coming across as an excitable presence yelling along to his own character-playing in the club. But even though he thrillingly rhymes “genie” with “heebie jeebies” whilst slithering around machine-gun snares, this is something we’ve heard from IAMSU! before (see ‘2 Eleven’ for example). That’s the problem with ability-focused technicians: they’re so good at what they do that they decide to repeat themselves.
[6]