Monday, September 25th, 2017

Hailee Steinfeld & Alesso ft. Florida Georgia Line & watt – Let Me Go

Oh good, it’s… all these guys.


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Kat Stevens: I’ve grown tired of the pop trend where the chorus is sung by what is presumably meant to sound like a festival crowd chanting along in a field, but is in reality just all the takes from the recording session put on top of each other, with a bunch of echo applied to it. Weirdly though I’m not tired of tropical house yet?
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Crystal Leww: When did Alesso start making trop house songs? When did Florida Georgia Line become full-time EDM vocalists? When did Hailee Steinfeld — one of my favorite young popstars who is usually pretty good at chameleoning into various pop dance music styles — finally make a song that is kinda boring? 
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Nortey Dowuona: Hailee swings through the slight guitar and gingersnap percussion, then soars through the curlicue guitar alongside watt, then falls flat over the empty, synth-laden drums. The song just flatly trudges after the fact, without another attempt at the initial subtlety.
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Katherine St Asaph: A more-nuanced-than-par lyric — reminds me a bit of “Already Gone,” and since Ali Tamposi’s worked with Kelly Clarkson that makes sense — attached to the brainpiss of an A&R who skimmed the Hot 100 for 20 seconds and assumed that of course you could get something cohesive out of any random four.
[3]

Joshua Copperman: I had a feeling Ali Tamposi co-wrote this — aside from being the person who gave us “It Ain’t Me,” her “And the Writer Is…” episode goes into some pretty dark territory, and the lyrics here are, in fact, pretty dark. There are some great lines about fucking up a relationship — I can imagine the hi-fives in the room at “Picket white fence, but we paint it black” — and about self-loathing and self-blaming (“I wished you had hurt me harder than I hurt you”) that feel emotionally authentic. Hailee sells the pain well, but then Florida Georgia Line mess the whole thing up simply by being there. They could have easily given it to someone else, then have Twitter freak out that omg those dudes from Florida Georgia Line wrote this song, but them and the awful post-chorus break — more like a slimy squelch than a “drop” — turn “Let Me Go” from a potentially haunting song into a near-dud. 
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Alfred Soto: A multiplatform threat that will threaten no one.
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Patrick St. Michel: When algorithms go haywire, the song.
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Will Adams: More fun with feature credits! At least it makes sense given the music, which continues the trend of mashing EDM and country and trop house and campfire folk into a steaming, gray loaf. “Let Me Go” has moments of yearning, mostly courtesy of Hailee Steinfeld and the scraped vocal hook, but then the “It Ain’t Me” chorus swoops in to turn it into another watery crowd sing-along.
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Maxwell Cavaseno: The SFX build is so strange, sounding more playful than such a somber and resigned record should be, even with the formulaic chorus surge and beat drop. Hearing all of these pleas to depart marked with such an awkward frivolous build seems a bit counter-intuitive, but the effectiveness of the final wails still keep the record from sinking beneath the discord. Funny to think something so light could derail something so heavy.
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