NOT a Nate Dogg cover…
Ryo Miyauchi: That drunk, rubbery synth tumbling down that siren bass in place of a chorus might be my favorite sound of the year so far, and the main strobe-light loop equally mesmerizes. No matter how many times I return, though, Taeyeon remains unconvincing as this adult thrill-seeker who’s drunk in love. She uses her voice sparingly like the best icy disco divas before her. Her voice curls and thins out into a purr when it should. But I get the feeling that you can sub her with any of her peers, let them do the same tricks, and the results would be relatively the same.
Adaora Ede: Okay, but what luxury car commercial is this from? “I Got Love” works almost TOO steadily along the shuffling bluesy rhythm with pop sensibility for this to not be played in the background of a Kia ad. The mise en scene is there, I guess, but the rising sultriness Taeyeon attempts falls short at whining tuba line. The irkiness does not end at the wonky plug-pulled noise filling in for an actual hook, but palavers on until the whispery vocal chorus hurriedly rushed in at the very end like a remnant of fellow group member Seohyun’s pillowy synth ‘n’ B production.
Claire Biddles: “I Got Love” is almost noir-ish in its sultriness — the percussion intro makes me think of “I’m Your Man” by Leonard Cohen, of all things — and the vocals are laid-back and luscious. I love its unpredictability — the harmonised vocals towards the that turn it towards R’n’B, and the build-up to the synthesised hook that serves as a neat twist on the more expected drop into a wordless chorus.
Maxwell Cavaseno: The cold martial feel of everything is meant to sound commanding, but with such a dry vocal performance and to culminate in that weird electro-swing breakdown, Taeyeon just ends up continuing to insist on a maturity and significance that frankly if you didn’t know who she was, her records would never translate. Ultimately a dull affair, suggesting that as much as it might’ve been time to put SNSD to bed, maybe some of their members weren’t developed enough to break out on their own after all.
Alfred Soto: At approximately 1:03 a strange sound — a cross between a whistle and a lick — stops “I Got Love” in its tracks. Meanwhile in the background a distant “hey!” blares like a tugboat in the fog. Imagine Destiny’s Child treated as Sneaker Pimps.
Tim de Reuse: The way the buildup to the chorus evaporates into an isolated, off-kilter little melody is a breathtakingly stylish measure of restraint and the track’s most immediately memorable feature. In general, the more going on here the less interesting it all is; about fifty percent of this track passes harmlessly through memory in a haze of unobtrusive synth strings, but the rest is well-executed enough to actually remember.