Wednesday, December 5th, 2018

HOLYCHILD – Hundred Thousand Hearts

And, via Scott, our annual LOCUS OF CONTROVERSY…


Scott Nash: I love this song as it seems to capture the feeling of obsessive, unrequited love with a fine blend of dizzying joy (the peppy melody) and malevolence (that dinky toy piano). Oh, and that sublime middle eight! I like to think of it as the unhinged, stalkery cousin of Paramore’s “Still Into You.” When I’m in the right mood this is an easy 10, but even when I’m not it’s a solid 8.

Nortey Dowuona: Liz Nistico sings delicately aloft, the hollow chords and drab drums spiced up with foamy bass, whirling synths and a careening trumpet.

Alfred Soto: HOLYGOD more like. As in, “Holy god, Meghan Trainor has had an influence.” 

Katherine St Asaph: This must be what people who hate Carly Rae Jepsen hear.

Tobi Tella: As a #theatrekidforlife, I was immediately drawn to the theatricality of this. It feels very grand and dramatic, despite being ultra-upbeat, and it’s more layered than it seems on the surface. . It’s a song about unrequited love that seems to not be concerned with the sadness of the “unrequited” part, and the peppiness makes the desperation more cutting.

Anthony Easton: She can’t sing, which is fine, but the aesthetic choices she makes instead of singing are grating at best. Even more grating are the keyboards, which I think are supposed to be cute? I don’t understand unironic indie cute as an aesthetic, and this isn’t helping. 

Joshua Minsoo Kim: Starts off insufferably but convinces me of its quirkiness as the song continues, mostly because it becomes obfuscated. The chorus’s topline is infectious and the eventual instrumental swirl that “Hundred Thousand Hearts” closes on turns this into a full-on theatre production.

Reader average: [6.66] (3 votes)

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