Wednesday, March 27th, 2019

G Flip – Drink Too Much

A new Australian singer-songwriter (it’s short for Georgia Flipo), not a new SoundCloud rapper…


Katherine St Asaph: I’m not sure whether the market can absorb another Halsey — at this point I don’t even know if the Australian market alone can. But “Drink Too Much” is a robust enough piano-chug/bass-scuzz/cheery-irony thing, even if those dolphin vocals need to perish in a lobster trap marked “late 2010s.”

Iris Xie: The genre of this song is “disaffected indie white girl singer, rebranded to go mainstream.” There is also an extremely twisted missed opportunity at 1:44 where she does faux-soulful vocals with an “oooOOh, two shots!” to a 4/4 beat — she could have channeled her own version of Sesame Street’s Counting Song by escalating it to “oOooh, three shots! oOooH, four shots!” and etc. But really, the songwriting, which caterwauls between the potential Facebook meme tags of “sad sentiments for the SADDEST people” and “tag if you’re a nervous opener for a BIG summer festival (but not Coachella),” inspires nothing but dread and confusion. You have to commit to one or the other or make a great mix of both. Instead, I am left with only concern for G Flip’s well-being.

Alex Clifton: “I’m sorry if I ever make you feel so alone” is a great line, but I don’t know how to take it in the middle of a bubbly pop song like this. I get the point–bouncy melody/dark lyrics makes for an interesting dichotomy, where you have to slow down and really focus on what you’re listening to. But I wish G Flip had gone a little bit further with the conceit, not as a PSA, but to enrich the song’s narrative.

Anthony Easton: How this opens up around the second minute, and the almost manic joy of the beats juxtaposed against a moral concern about her drinking, are about as interesting as the “sorry not sorry” coda, which combines emotional distance with desperate need. An allegory of hunger that doesn’t quite work. 

Joshua Minsoo Kim: Not as dangerous or self-loathing as needed, but the one pause certainly makes things exciting. The vocal delivery is just too aloof to successfully transmit any of the emotions the lyrics try to convey. The beefy bassline is almost sufficient.

Iain Mew: The chugging bass keeps up musical momentum, but crowds out any space to think about what she’s singing. Which might be the point, but if she’s going for presenting the deadening effect of keeping on drinking, it could do with being offset by more of a hint of something, good or bad, to make the effect meaningful.

Alfred Soto: The beat conjures a gender-flipped “Can’t Feel My Face,” and while I wish G Flip grabbed The Weeknd’s face and hurled it across the room, “Drink Too Much” lacks a scintilla of personality.

Edward Okulicz: I wanted to like this, and for the first 20 seconds or so I really did — I was immediately interested in and sympathetic to a queer artist speaking about her dating woes and insecurities in a blunt but confident manner. And had the song continued in that vein, I’d have remained captivated. But G Flip’s capitulation to blithe, matter-of-fact dead declaration that she drinks too much doesn’t work — she sings like she’s dismissing it as a concern, sucking the energy out of the song. Worse, it doesn’t take the narrative threads she promises anywhere. I’m keen to see where G Flip goes from here but I want to hear her real story, not one that’s cut off so it can fit in some cliches like a garden Weeknd boredly outlining what a shit he is.

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