Monday, May 21st, 2012

Kitty Pryde – Okay Cupid



Anthony Easton: Her giggle is really obnoxious, and I love the line about calling sober, but rhyming “ready” with “ready” is lazy, and the whole thing has hipster white privilege leaking all over its laptop preprogrammed beats.

Kat Stevens: Love her mates jamming away in the background, clutching their tinnies! I wholeheartedly approve of this Mucking About With Audio-Visual Equipment During The Summer Holidays genre of pop.

Brad Shoup: Kitty gives the same treatment to the Bud Light Lime spying and the hardened-tooth bit (nice) and the wedding thing, like it’s enough to coast over a fine nighttime dog-paddling beat from Beautiful Lou. It’s been enough for Lil B, I guess, so if KP gets on a grind maybe a parallel cult will get off the ground. 

Alfred Soto: The blankness and insistence on surface reminds me of Black Box Recorder, another synthy act whose lead singer diffidently pouted about English motorways and drugs and bad sex. Some of the details are well chosen. Whether the song is supposed to give pleasure, I suppose, is beside the point.

Iain Mew: There’s much to appreciate in the detached, slow motion unfolding of her verses, perfectly matched to the spaced out beat. She does a good job of making her words sound considered and crafted and like a stream of consciousness at the same time. To choose of my own accord to listen to “Okay Cupid,” though, is to choose to listen to “Get outta my room! BLERGH!” and the giggling at the end. Ironic or not, they’re way too annoying for that to happen again.

Katherine St Asaph: The song is fine. This spun-sugar beat would sweeten anyone, Kitty’s rapping is far more inventive and technically adept than certain unnamed peers, and if you happily listen to Sleigh Bells without fretting about middle-school lyrics, you have no business criticizing these. Inevitably, nobody is criticizing this song; they’re criticizing whether Kitty Pryde deserves to rap or make music, and whether the writers covering her are opportunistic, creepy or both. The former is bunk; I’ve seen the Chartbeat stats. The latter I can elide, being female and youngish myself and relating to quite a bit of this. (Absent-mindedly singing to Frank Ocean? Different song, but yeah, and haven’t we praised other, More Legitimate Artists for this exact sort of interpolation? Waiting for ill-advised 10 p.m. drunk dials? It was a Gchat, but same idea.) From that position, all the BLOG UPROAR is just extra humor. She’s gotten thirty-something dudes to blither on about blithering on about the authentic teen-girl experience. She’s gotten them to ignore the music while whining about others who do. And she’s gotten them to dance around this being named for a dating site, which may be the most hilarious development of 2012.

Jonathan Bogart: Not sure separating the words that a 2004 startup smashed together counts as creativity, but I’m not exactly the target audience. The vocal delivery takes the wobbly sneer on “all I ever did was drive your drunk ass around” from Ke$ha’s “Backstabber” and applies it to the length of a song. If it weren’t so enervating, it’d be exhausting.

Jer Fairall: Coy, self-deprecating and oddly sweet, with a rap suggests Winona Ryder karaoke-ing along to J.J. Fad far more readily than it brings to mind Ke$ha’s obnoxious party-girl braying. The Frank Ocean namecheck leaves an even greater clue as to where this girl’s head is really at, and its bargain basement dubstep wubs sound positively aching and lonesome. Bedroom pop, meet technology.

Jonathan Bradley: “Get out of my roo-oom. Bleh!” References to Frank Ocean and The-Dream aside, that opening interjection is both the essence of “Okay Cupid” and it’s most charming feature. Kitty Pryde is a rapper in the same way Beck or Luscious Jackson are — in theory only — but as an idle, silly account of adolescent aimlessness, her music is satisfyingly vivid. It’s an IM conversation in song form. Slot it alongside Bethany Cosentino, not Kreayshawn.

Andy Hutchins: Whether you like “Okay Cupid” as a song probably depends on whether you are okay with the idea that Lil B fans will sometimes perform songs in the style of Lil B, and considering that Soulja Boy has been doing that far less successfully for a while now, I think you should be okay with that. Whether you like what “Okay Cupid” says about the ways in which rap and music and the Internet have changed is immaterial. Go listen to Jokers in Trousers’ version of “Charnsuka,” though.

2 Responses to “Kitty Pryde – Okay Cupid”

  1. I feel like I need to clarify that if this comes off like I’m treating the song like a meme, it was the complete and total opposite of what I intended. Yes, this is out of guilt.

  2. (re: this and this: ) — I even blog searched but couldn’t find anything else, so yeah, this is probably me, and now I’m paranoid my transcription was off or something