Big in Poland, and big in controversy…
[Video]
[5.67]
Joshua Minsoo Kim: Insufferable.
[7]
Katherine St Asaph: An over-busy track, yet one with almost no variation, plus about 1,000 times more banging donk than any of the vocalists can really keep up with.
[3]
Iain Mew: One of my favourite fictional music genre names is “charthump” from Becky Chambers’s Wayfarers series of books. It never gets described beyond being fierce and throbbing, and I have variously considered parsing it as chart-thump, char-thump or chart-hump. This is a strong contender for the sound of any of the three.
[7]
Tim de Reuse: A kick with enough bounce to cause physical pain, a polka bassline, a sputtering accordion, and a breakneck tempo: I’ve looked at this combination from every angle, but I’m just not having any fun.
[2]
Kylo Nocom: Ronnie Ferrari is excitingly just as giddy and animated as the relentless dance beat behind him, delivering every verse with finesse. His boyish singing in the chorus could have fit well among the cartoonish Euro-pop melodies of 2000s YouTube/Newgrounds memes, like a member of a lineage that includes, uh, “Dragostea Din Tei.” My favorite part of experiencing this song was learning that he has more like this and that I may never need to beg for an LMFAO comeback ever again.
[7]
Scott Mildenhall: Doubtless, there will be no end of context to this bounding Tangfastic of a song, invisible to the uninitiated. But whatever is going on, it seems to be crystallised by every one of the many videos of Polish wedding guests going absolutely mad for it at the reception. How could they be wrong?
[8]