More like crappy tome, amirite?

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[3.45]

Patrick St. Michel: Geez, the magazine industry has enough problems, don’t throw shade on ’em now man.
[3]

Iain Mew: The simple synth pulse and Lukas Graham’s concentrated emotion is an attention-grabbing combination. When he first reaches for the falsetto, it reminds me of the most powerful moments of “La La La”, even through the clumsiness of some of his phrasing. Neither producer nor singer know where to take the song from there, though: Graham just keeps piling on words and words and words to diminishing returns, and to make that worse Hedegaard layers on rock bombast too. Eventually the song collapses under its own weight.
[3]

Will Adams: Lukas Graham doles out lyrics like flyers on the street, and despite the earnest build of the instrumental and the song’s modest run-time, it’s all so exhausting.
[5]

Alfred Soto: The first DJ-anchored track with more lines per minute than beats.
[2]

Thomas Inskeep: Marillion 2014, and that’s not a compliment. Also, good god this motherfucker’s wordy. SHUT UP.
[1]

Anthony Easton: I like how this warms up the minimal production that is fashionable right now, and the melodrama delivered elegantly over that reduced beat.
[7]

Scott Mildenhall: The sparseness and unconventional structure are one thing, but when Lukas Graham openly wonders whether people actually ever read the songs (man), this gets a bit too beseeching in its quest for it to be A Serious Moment. Funnily enough, it’s when given the due of that reading (it’s practically enforced) that it starts to fall down. With so many words, some are bound to land askew. On the other hand, they make it an outpouring, something never completely coherent or immediately comprehensible, and for the end of every verse necessary, they lift a weight.
[6]

Stephen Thomas Erlewine: I’ve listened to this four or five times and I’m still waiting to hear a hook. Or a beat.
[3]

Megan Harrington: Graham’s pacing is slightly off so he has to strain (shriek, really) for the song’s emotional peaks. The consequence of this, aside from earache, is that it sounds like he’s bullying you into believing he’s got a happy home. It’s all very contrary to the celebration of his various family members, but then that’s all perpendicular to the loss of his father. If you’re not sure whether to believe Graham’s loving lyrics or his anguished delivery, he probably isn’t either.
[5]

Brad Shoup: In every dream home a fatuous babbler.
[0]

Katherine St Asaph: tl;dl
[3]