R&HBO…

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[7.25]

Daniel Montesinos-Donaghy: So, so dope.
[9]

Patrick St. Michel: I’m not really sold on Mack Wilds the singer, but I’m all in on that beat.
[7]

Jonathan Bradley: The beat is grimy as fuck and it’s a shame Wilds isn’t too: could you imagine Anthony Hamilton on this? Still, the tension works to Mack’s benefit; he is — excuse me — living it like he owns it. Jada remix, please.
[7]

Crystal Leww: The tension in this beat brought on by the pangs of “Own it,” the deep buzz, and the strings is wild, and Mack Wilds is a good enough singer to keep it up. Everything is delivered with a bit of a smirk, but only a slight one, which makes singing about owning it seem possible rather than lame.
[8]

Iain Mew: I can’t get enough of the bass synth judder, so energetic and evocative of night-time excitement. Mack Wilds’s poise as he gently sets his vocal against it is just as superb, sounding suitably like he’s in control without even having to try. The sparing touches of falsetto and strings are a bonus.
[8]

Alfred Soto: The ominous synth runs and anguished vocals shored up by harmonies call to mind “Poison” and other hallmarks of early nineties New Jack. Impressive.
[6]

Anthony Easton: The disruptive bubbles and percussive elements near the end of a perfect smooth beat is a nice little effect, especially near the end. 
[7]

Brad Shoup: You’ve probably read the bio: this is part of a project paying homage to Wilds’ native NYC. He’s a Staten native jumping on the debut drumtrack from Long Island’s finest, but all the talk about kings and the boom-bap production situate this in the heart of the action. The strings add intensity and introspection, not grandiosity. Wilds is the x-factor here. He’s trying to eat the city and I need to see a single street.
[6]