“Buttery smoothness” more like.
[Video][Website]
[6.43]
Scott Mildenhall: At first this is eerily reminiscent of some the tedious stretches of the last Daft Punk album, but it unfurls into something more engaging than the basic lounge muzak it threatens. Part of that is down to Jamie Woon’s impossibly smooth tone, imbuing his non-groundbreaking story with believability, and part of it comes from how that story is enhanced by the slightest of imaginative choices – a song focused on the word “sharpness” gives the same kind of enjoyment as Girls Aloud having “anaesthetise” in the chorus of “No Good Advice”. Also, never underestimate the power of a good abrupt ending.
[7]
Daniel Montesinos-Donaghy: The peek-a-boo shortness of the chorus’ key change switches the mood from smoove to sleek, which is a step up: it shows Woon knows the difference between making £12 hotel cocktail suite and actual sonic seduction. All that Mai Tai swooning works for something this crisp, though. From the air-tight production down to the bulbous swathes of keyboard, he’s selling you on more than just another blue-eyed soul record. He’s selling you affluence.
[6]
Alfred Soto: I can’t deny its solid structure, and the organ washes complement his modest vocals. But corners need edges, not to mention sharpness.
[6]
Katherine St Asaph: Sharp like a switchblade: you don’t know it has you at knifepoint until it’s too late (specifically, at 2:17). If only the ending didn’t retract so suddenly.
[7]
Thomas Inskeep: R&B made as if it’s deep house; Sam Smith would do well to be paying attention.
[7]
Ramzi Awn: Jamie swoons with an old school blend of underground that could have been lifted from the club scene in Todd Haynes’ “Far From Heaven.” “Sharpness” could be written off as another Tracy Chapman anomaly, but the Miguel-infused vocal is too precise, and the bass too dark. Minute 2:47 has never heard such a growling bass line.
[7]
Edward Okulicz: Not to say it’s aural wallpaper, because Jamie Woon’s voice and artistry are at least painting-standard, but this is so thoroughly average that I can’t imagine anyone having a strong opinion about it. I still love the sparse, twilit drama of a track like “Night Air,” and this seems tasteful rather than tense by comparison.
[5]