Guitary!

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[3.57]

Will Adams: It starts out pleasantly enough, with a synths-swapped-for-power chord intro setting the stage for an extended metaphor that isn’t a particularly new way to describe heartbreak. However, things get icky when you think too long about what sort of “treatment” he’s asking from this girl. Also, if you’re gonna croon “boys don’t cry” with a straight face, then you do need treatment. No, not that kind. The real kind.
[4]

Anthony Easton: Love when he talks instead of sings, and the lyrics seem believable, though terrible, and they seem to blame the victim for the singer’s emotional reticence–which is always a bit of a problem, the tension of the electronic effects in the background work the theme a little too explicitly, though.
[3]

Jonathan Bogart: Ilike the suggestion of sand in his voice, and I’m unexpectedly charmed by the chorded guitars. If this were to become a massive hit on the emo-pop spectrum (what I think of as the “Wide Awake”/”Love the Way You Lie” axis), I don’t think I would mind it much.
[6]

Brad Shoup: Well, thanks to this, I now know a Katy Perry/Eminem relationship would be the worst thing ever.
[2]

Alfred Soto: Maroon 5, meet Bloc Party. Remind them they misspelled their moniker too.
[2]

Patrick St. Michel: An otherwise dramatic-but-still-straightforward rock song gets an extra point for taking half a Cypress Hill chorus and seemingly delivering it earnestly.
[5]

Iain Mew: Something about the groaning synth chords at the start has me finally getting Michaela’s “aural vomit” description last time. After that the song gets better, but it’s as uncomfortably bloated as most of the album it comes from and has two terrible ideas for every good one.
[3]