Fuck money, get blurbs.
[Video][Website]
[5.57]
Will Adams: From “Vermillion” to “Give Up at 2” to “$,” Sofi de la Torre has always nailed the late-night lament, the eternal walk home that’s actually only a few blocks, the tumult of thoughts tangling themselves further. But now, the mood has switched, and for once, the daggers are pointed, tentatively, outward. While there’s still a sense of acknowledging that she’s made this mistake before (“I’ve seen you by the dozen”), Sofi de la Torre’s self-assuredness is powerful. The calm, major key arpeggios and guitar strums feel like a cloud parting, and through all the hurt, she finds a confidence to keep walking and let the venom out.
[8]
Edward Okulicz: Smart: she’s singing him beautifully to sleep as she punctures his ego and stabs him in the heart.
[7]
David Sheffieck: Both the production and de la Torre’s vocal lack the passion that might really sell the lyric: they’re beautiful, comforting, enveloping; the song needs some venom.
[6]
Micha Cavaseno: Between the phlegm-rattling wretchings referred to as ‘vocals’ occasionally breaching into a merciful whine at the back of a throat or yet another strive for the sound of modern casu-cool throwaway depth, you could summarize so much of the last three years of this sound in pop music as unfocused. So much of the last decade of music has held fear of specificity and distinction, as if to commit fully to a moment means that you’ll be bound to it for forever. Whenever de la Torre jump-ropes over syllables, the gurgling attempts at remaining at that midway point of adolescent frivolity and adult wisdom feels like a deliberate hedging, and who has time to take someone seriously when they refuse to invest in their own creations?
[3]
Alfred Soto: Unmoored from consonants, unchained from sense, released of meaning.
[3]
Thomas Inskeep: Breathy vocals pair with slightly underwater, slow-motion production to make now pop for hipster people.
[4]
Hannah Jocelyn: Easily her best since “Vermillion,” continuing the Drake-but-backwards-and-in-heels formula of many of her songs but also improving on it. This is easily the best production she’s ever had , keeping the muted late-night aesthetic of “Vermillion” while adding in harps, heavily reverbed guitar, and simple but effective trap drums. That combination is usually someone like Lana Del Rey’s specialty, but it’s refreshing to hear de la Torre tear this dude to shreds instead. The brutality of “Forget your car, I’m gonna walk home… you the type to fuck your own damn self to sleep”, “I’ve seen yous by the dozens,” and “Sip that bubbly with your pancakes” makes the song hit harder than anything she’s done before, perhaps even including that breakthrough single. I’m still not quite sure what the bubbly line means (my best guess is “you think you have it all but you don’t have me, so enjoy your food, you dick.”), but that’s why I love this song so much; while some of her other singles felt self-conscious in the way she toyed with other genres, Sofi’s finally confident enough to create something fully absorbing, especially lyrically.
[8]