YOUNGOHM encounters some resistance…

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Juana Giaimo: Although in the beginning the vocal distortion sounds like an interesting experiment it soon turns annoying — especially because the vocal melody is also very repetitive. 
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Ramzi Awn: Some trends take a back seat after a year or two, and others last a lifetime. While Auto-Tune may finally be giving the United States a break after its auspicious release in 1997, it appears to be on the rise in Thailand. It’s a shame, too, because YOUNGOHM does some good things with melody on “Thararat.” The single sounds almost sweet in parts, and the DIY flare to the beat works in its favor, but there’s nothing DIY about pitch correction.  
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Will Adams: There’s a slight charm in the interaction between the jaunty “Saturday in the Park”-esque harmony and YOUNGOHM’s Auto-Tuned purée of a vocal. If only I weren’t constantly distracted by the world’s puniest drum kit.
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Alfred Soto: I like faster Zapp pastiches.
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Katherine St Asaph: I know these aren’t the actual antecedents, but I hear “Mr. Cellophane” in the style of ’00s landfill indie or the driftier, aimless parts of Random Access Memories.
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Iris Xie: Why do such trashy guys make catchy songs? Reading the lyrics put such a big frown on my face that I actually had to google for a listicle about what a misogynist looks like, since I’m way too much in this guy’s headspace for me to be remotely happy about experiencing his perspective. Aside from that, I like how there are two choruses with slight shifts and how they loop one after the other, but the first person narrative shifts from a “so called good guy” to a breathing dumpster fire slut-shaming a drunk girl that is open about her affections. Yikes. The Auto-Tune helps mask the texture of an unremarkable vocal color that brings out the sentiments provided by YOUNGOHM, and the melodies are sturdy and rock solid against a simple glitter chime, a tambourine, and drums. But upon knowing the lyrics, a steady bop like this turns into tiresome ash. I can just sense awful people defending YOUNGOHM’s position and saying “she totally deserved it.” Gross. 
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Joshua Minsoo Kim: Falls firmly in the “doesn’t know how to tastefully implement Auto-Tune” camp. Without its atrocious misuse, “Thararat” would be a more bearable ballad. But while the twinkling sound effects and sudden inclusion of additional percussion are enjoyable, little else here begs your interest. The Auto-Tune proves to be nothing but a distracting mask, and an ineffective one at that; you can always sense the half-baked song underneath.
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