The Singles Jukebox

But first, let us take a…

[Video][Website]
[5.33]

Crystal Leww: I cannot for the life of me reconcile the cheery sunny bits with that bleeting EDM drop. This should soundtrack the closing credits to a Bring It On type of teen romcom movie with the whole cast joining in for a goofy hip thrusting wiggle dance during the dubstep wobbles. I cannot imagine listening to it outside of that setting.
[4]

Thomas Inskeep: Vietnamese boy-band pop that’s too cute by half; the trap/EDM trappings don’t help. 
[3]

Jer Fairall: A production stacked with enough bells and whistles that about a 2/3 of them are bound to work. Me, I smile at those bright Eastern synths and the sheer bubbliness of the chorus, but could do without the sooo-five-years-ago wubs. The hit/miss ratio extends to the video as well, a charming Cinderella riff that is exuberantly choreographed, before stooping to some unfortunate fat-shaming for a few cheap laughs.
[6]

Alfred Soto: Winsome V-pop set to a reggae preset that gets by on the strength of those vocals, which have a vague tejano lilt. The hook is a fragrant breeze.
[7]

Anthony Easton: I like the inclusion of traditional instrumentation, laced through, the vocals made more intricate by their presence. Also, some excellent harmonies, and it’s nice to know that boy bands are pretty universal.
[7]

Cassy Gress: Two, maybe three songs are strangely cut and pasted together.  I’m reminded of Chino Y Nacho, of all things, on the simple and earnest verses and “selfie selfie yeah” choruses; all of the other wubby beepy sounds are an Alphie II from hell.
[4]

Iain Mew: Hearing heavy electronics slammed into something different is not too novel these days, but the jaunty chorus of this is far enough from anything being done in Korea or elsewhere that it makes for a new thing. There is something remarkably gleeful about tackling both that and trap inspired sections that sound somewhere between “Turn Down for What” and Jolin Tsai, and doing so with a gameness and ability that disappears the need for a difference between the two. I still love all of the vworp sounds in their own right too, which helps.
[8]

Micha Cavaseno: Two points for that weird gong effect in the breakdown with the annoying DJ Snake synth (is there a name for that?), a half point for doing some weird bouncing reggae groove for the verses, and a half point for making me laugh that we’re still using wobble bass in 2016.
[3]

Patrick St. Michel: Had 365 settled on just one or even two ideas here, “Selfie” probably wouldn’t have worked out so well. But bless their hearts, they embraced like five different sounds over the course of this song, and end up with a song that, while not great, is extremely charming. It’s the K-pop model of cramming as much as you can into a song taken to its logical end point — EDM drops meet Diplo hooks meet rap meet a chorus that sounds like the “Macarena” if that one was followed up by a transition mimicking “Pressure Drop.”
[6]