And we continue with the Canadian Bieber who’s actually from Finland. And Tyga (also not Canadian) for some reason.
[Video][Website]
[4.50]
Daniel Montesinos-Donaghy: A rightly forgotten song in the Neptunes production canon, Jesse McCartney’s “She’s No You” is an toothless attempt at an R&B banger, polished off with the don of Noughties Rap&Bullshit verses, Fabolous. People will hear “Lipstick” and think Bieber, a little Derulo, a little [insert Nickelodeon/Disney solo soundtrack jam from 2008 here] but the Fauxrell beat and earnest vocals screams McCartney, an odd precedent that nobody asked for. Tyga, a modern veteran of Rap&Bullshit verses by virtue if not success, isn’t fit to shine Fabolous’ shoes. You’re probably a little queasy reading his name right now, right?
[4]
Ramzi Awn: Isac Elliott starts “Lipstick” off with fire and ice, and his hook does not disappoint. The build-up is top-notch, and the blatant nod to JT is just respectful enough, until the breakdown at the end when he actually is JT. Still, fire engine red lipstick is a good look for fall, and it’s not bad on Elliot either.
[7]
Thomas Inskeep: Discount Diplo (overstuffed) production befitting a baby Bieber, but I’d frankly rather not hear a 14-year-old (really) sing about a girl’s lipstick. Or ever hear Tyga rapping, ever.
[4]
Alfred Soto: In 2012, Bieber would’ve chosen this Diplo-esque track replete with swirls and stutters as a look-at-me gesture. The giveaway? Elliott’s “vulnerable” bridge.
[5]
Scott Mildenhall: Over two years since his chart-topping stalker anthem, Isac Elliot is still recording fairly age-inappropriate lyrics, and placing them at the centre of the same kind of hyperdrama. It’s the same kind of hyperdrama as in the RedOne-assisted “Baby I”, too (home to one of the best choruses since hyperbole began) and “Tired Of Missing You”, from the same album. Happily, there is a pattern emerging, but here it’s well juxtaposed with something far looser, and that’s precisely what The Monsters & Strangerz have excelled at this year. Tyga brings some extra intrigue – as to precisely why he’s even there – but this is all about interplay, between darkness and light, and rhythm and suspense.
[8]
Katherine St Asaph: The vapid garbage people accuse all teenpop of being.
[1]
Micha Cavaseno: It’s unfortunate because the chorus on “Lipstick” is great in the first bit, but the build and drop effect dulls its potential impact by distracting you from the good hook. Also the verses aim for Justin, but land a little bit closer to JC. Yet another tragic quality is the inclusion of Tyga, a guy who’s honestly at the peak of his abilities but nobody should ever take seriously because… Well, it is Tyga, but you know…
[5]
Brad Shoup: Justin Timberlake SLOWED 200% (AMAZING)
[2]
Edward Okulicz: I will take Elliot’s “New Way Home” over any of Bieber’s early burblings, but I certainly will not take this over “Boyfriend.” It’s an okay production and an okay hook, but the execution of the latter is swamped by the former. Bits that work: “one step closer/can’t get over” pre-chorus, the closing “come back, I’m ready for you,” the rush of the chorus the first time. Bits that don’t: Tyga, Elliot’s unworldly curdling of the actual words, also Tyga. Would have been a solid [8] if it had been recorded by Britney circa In The Zone. As it is:
[6]
Jonathan Bradley: Elliot wasn’t yet toilet trained when “Like I Love You” dropped, so perhaps he considers JT beatboxing and bursts of Spanish guitar to be a slick retro move. Even if that were so, he has neither the personality nor presence for effective nostalgia. The yawping melody line following the hook, however, is very now and very unnecessary.
[3]