Romanian star with global influences…
Lilly Gray: I can’t imagine anyone citing Inna as their favorite artist, or even her existing as a physical presence and not the ambient, benevolent spirit of Ibiza, but corporeal, knowable form is not a prerequisite for insane success. Following the Cola Song, this is another club-ready track that is perfectly poised for heavy rotation in a sea of sweaty, drunk people. The beat is perky, the truncated pan-pipes are excruciating. The lyrics do my absolute favorite pop thing where they move from awkward, linear narrative to abstract demand. The pseudo-dancehall nods are deeply irritating and the chorus fades into a empty beat that will provide a perfect score to realizing you’ve become separated from your friends and are stuck by the sweaty dude shadow-boxing near the VIP section.
Thomas Inskeep: Meet the new Europop, same as the old Europop.
Katie Gill: Look, it’s not Thoroughly Modern Millie so I appreciate it on that fact alone. The song’s catchy, Inna’s obviously having fun with this, and the break is something close to sultry…so why on EARTH did it have to reference “me love you long time,” a phrase that deserves to go the way of the dinosaur and yo mama jokes?
Maxwell Cavaseno: Tropical-House diving off into the ‘cuckoo clock’ style drop direction is really a thing huh? “Gimme Gimme” is a record that has a lot of interesting parts… The piping chorus, the filter-warp of the drop, the dancehall/pop breakdown bit. A shame they never ever feel like they connect seamlessly, made weirder by the hodge-podge of international homages.
Alfred Soto: Reveling in the vocal manipulations of K-pop, the Romanian singer plays with ease a spirit of playful avarice. Not a second longer than it necessary.
Iain Mew: The squeaky woodwind bits are novel, and more out there than most in the tinny production trend. Building a party song with even a jerky kind of flow around those is an achievement, even if the result tops out at startling but slightly queasy.
Will Adams: It’s a shame the chorus swipes so much from “Cheerleader,” which dates it, because the rest of this sounds remarkably fresh, from the distorted flute to the beatbox breakdown. Inna’s transition from Euro house to dancehall and Latin pop has always been a bit awkward, but “Gimme Gimme” shows promise for her ability to sit comfortably in the material.