I’ve got a bed meotjin / I’ve got a bed chakan…
[Video]
[3.88]
Oliver Maier: Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz.
[2]
Hazel Southwell: Every week I open my Spotify Release Radar and promise myself I’m not adding another David Guetta song to my “good stuff from this year” playlist and sometimes I come away without playing myself. Few of them have hit like this, lately, though — it’s absolutely RAYE’s alternating between warmth and arch more than anything about the basic beat or even the slight house piano tease under the bridge and the one good lyric is working extremely hard here. “I got a bed but I’d rather be in yours tonight” is one hell of an expression of Longing, though — maybe even straying into Yearning and sure, I might be able to resist some cheap shots, but I’ve always been a sucker for that.
[7]
Alfred Soto: I assume you have a bed — why even mention it as a bargaining chip? I expect this negotiation with oneself from Democrats circa 2009.
[0]
Thomas Inskeep: Give Joel Corry credit: he figured out a winning formula, goes back to it over and over, and it seems to work every time. In his case, it’s the pop-house style that the UK has gone gaga for over the past couple of years; originally, it sounded like a retro ’90s thing, but he’s somehow managed to freshen it up a bit and make it sound like the sound of now. Does that mean it’s particularly interesting? Not really, even with a singer as strong as RAYE riding shotgun this time around. (It’s indiscernible what, if anything, Guetta is doing here.) But while this may not be at all special, per sé, it’s nothing if not effective.
[6]
Leah Isobel: Raye can write hooks like this in her sleep, but “Bed” is a better use for her vivacity than some of her other features; at least here she sounds like she’s having fun. Still, her solo material remains far more interesting.
[6]
Samson Savill de Jong: This is a sexless song, which is a problem when you’re singing words that are meant to be sexy. Guetta-esque EDM used to at least be reliable for building to a drop that exploded (even if it was the same every time), but the drop here doesn’t pay off the build up, it just flops like a damp squib.
[2]
Katherine St Asaph: David Guetta has developed zero subtlety over the past decade, which in the ’20s music landscape is a novelty, if not exactly a plus.
[4]
Scott Mildenhall: It’s no crime that the words are pro forma, but it is that they fail to actually suit the form. Be memorable, be punchy; be anything at all for even a fleeting moment, and you’ll have done your job. “Bed” lollops under the low bar it sets for itself: no vigour, no indelible melody, just a sheet of mattress flatness.
[4]