We’ll take you. There is a distinction.
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[4.12]
Micha Cavaseno: 1/6/2017, 9:11 AM EST: The subject in question, Micha Cavaseno, was reportedly 1 minute and 7 seconds into a generic jackin record that attempted to sample Sadie Ama’s “Fallin'” (itself a re-write of Tinie Tempah’s “Wifey”), when the bad Essex-Rap came in. Maxwell then reported the sensation of ‘going temporarily blind’ with rage, claiming he was prompted by “this wretched spoilt milk residue of a man” sinisterly chopping up what was once a tragic song into some sort of weird anthem of smug egotism. While screaming and breaking an end-table at Zanetti’s bastardized version of Sharkie P’s style, Cavaseno spurted something about the vocalist in question seeming like the type of man to call martial artist Conor McGregor “his spirit animal” and groaned about “this dullard’s shittly little theremin lick.” Eventually, the subject in question was made to listen to several natural Sadie Ama performances, and proceeded to calm whilst repeating the mantra “goddamned Essex.”
[0]
Mo Kim: If you’ve ever wondered what Pitbull would sound like on the US Dance Dance Revolution port, this is a respectable answer.
[5]
Alfred Soto: No. I don’t.
[2]
David Sheffieck: The bass reminds me of someone teaching themselves scales for the first time, plunking out a rhythm on the dusty Yamaha keyboard at the neighbor’s house. And Zanetti’s perpetually out-of-breath flow doesn’t do it any favors, either. Ultimately the song is able to click a little – but only just — on the sense of loss and longing conveyed by Ama’s vocal. When the song’s just her and the beat, it nearly works.
[3]
Iain Mew: The UK charts have got so predictable and slow (the slowest ever, if you go by turnover of #1s) that it’s a pleasant thing just to hear something different in there, even if it’s not much more than a deep beat and a well chosen sample. The enthusiastically amateur rapping is almost a throwback novelty too far, though.
[6]
Ramzi Awn: I have a soft spot for basic echoes. While it’s nothing to write home about, the throwback hook on “You Want Me” reels you in and drags you out onto the dance floor.
[6]
Scott Mildenhall: It’s a superficially democratised era in the music industry, where you can make a mint by popping one song on Spotify, but more likely lose ten times as much on a record deal advance that fails to be covered by the crumbs from their streaming table. It is thus a pleasure to see the belated chart success of this: a song that has been knocking around for at least four years by some bloke from Leeds who built his local celebrity with the assistance of Bluetoothed MP3s and tinny mobile speakers. His rapping abilities don’t seem to have improved much since then, but he comes from a strand of British music that doesn’t get acknowledged by outsiders unless they’re VICE, so it’s great to hear him played on Radio 1 with the same pofaced implication that he’s to be taken seriously that Disclosure would get. And would he receive such respect if it were donk? Maybe all you have to do is get some ghost producers in to produce something ghostly, and you can be Steve Strange.
[5]
Katherine St Asaph: Which is more of a tell that this track is super-old: the “Like a G6” reference, or the presence of Sadie Ama? But maybe it’s for the best; tolerate the parts that evoke questionable Christmas raps and this is just different enough from the glut of landfill EDM to be welcome. And at least they credited her this time.
[6]