Friday, February 9th, 2018

Yung Bleu – Miss It

Nah, we’re good.


Ryo Miyauchi: The pettiness of Yung Bleu is far from novel in a post-Drake or even post-Purpose pop climate. What’s even  more of a mess is his scrambled logic, where he feels wronged but also needs nobody else. An ear for melody can excuse so much, at least from a first listen, but he’s far too self-involved here to sell any emotional depth behind his affectionate gestures.

Micha Cavaseno: It’s not like there isn’t plenty of wit to make “Miss It” stand out from the seas of autotuned pop-rap/R&B out there in Bleu’s lyrics. Unfortunately, this production is about as basic as you could ask for, and his vocal tone is just a bit too goofy to even get to the merits of his record, which makes “Miss It” just diabolically insufferable despite its moments of quality.

Thomas Inskeep: Yung Bleu is Auto-tuned so heavily here that I’m not entirely sure what his real voice sounds like, which is a shame, because this isn’t a bad R&B record. It’s not great, but it’s not bad, either, but the aggressive overuse of Auto-tune is so off-putting that I can’t garner much enjoyment out of “Miss It.” 

Ashley John: “Miss It” is nice in that it lets you take what you want to take from it. The beat is syrupy while the lyrics are scathing; it works as background music or as a revenge soundtrack. And if none of that satisfies you, the music video certainly will. 

Anthony Easton: This kind of slowed down, sadboy hip hop has this weird tension –adolescents pretend to be jaded or have ennui as a way of understanding the world, but Yung Bleu might actually be both. It is weird when you think of a genre being new, but developing a baroque late style so quickly. 

Edward Okulicz: Impressive as an anthem of self-delusion, as Yung Bleu rakes over his memories of a girl and tells you, her, and himself that she misses him. Over and over again, too.

Katherine St Asaph: The fusion of ultra-contemporary R&B and acoustic singer-songwriter work, led by Khalid, Bibi Bourelly, and others is promising. The fusion of ultra-contemporary R&B and MOR piano ballads is not: dated, to the doldrums of the late ’00s, and stretching a few rote chords to interminable length.

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