The Singles Jukebox

It’s rare that we get this much consensus, or at least part-consensus…

[Video]
[4.50]

Joshua Minsoo Kim: A Boogie Wit Da Hoodie’s released a slew of piano-driven music, but it’s all been sappy and featured lyrics like “I took her on a baecation,” “Can’t believe you left me for a broke boy” and “I feel like a fucking loser.” Hilariously, this means the braggadocious lyrics on “Drowning” feel like a nice change of pace for the young Bronx rapper. It’s all about the piano melody, though — deathly serious and somber, sounding like stock music for a film student’s black-and-white crime drama. Best of all, it makes Kodak’s slurred voice feel right at home, at least until he utters “I’m the shit, I’m farting, I don’t know how to potty.”
[6]

Alfred Soto: An irresistible piano part and sung hook — it’s got radio play guaranteed. No memorable verses, though, and Kodak Black stops the proceedings cold.
[3]

Will Adams: In looping what sounds like the opening chromatic descent of a Chopin prelude, Boogie creates a convincing energy of languorous excess. There’s some time to wonder whether following the chord progression fully would have created more drama before Kodak Black comes in to kill any interest I had.
[4]

Hannah Jocelyn: That chord progression is gorgeous. A Boogie Wit Da Hoodie sounds more haunting than someone with that name should be. Then Kodak enters. Considering the bottomless pits he’s dug himself into, it’s hard to want to see him winning. The farting line and ones like it don’t help his case.
[5]

Ramzi Awn: A Boogie Wit Da Hoodie activates a room instantaneously, and his welcome formula is not as simple as it sounds. The frothy drums come as a refreshing change of scenery and Boogie’s voice doesn’t miss a beat.
[7]

Stephen Eisermann: Cleverly written, expertly produced, and delivered with a sense of conviction necessary for the song’s central message to work. The chord progression pulls you in and perfectly represents Boogie’s exhaust, while he uses his rap to fight on. It’s a beautiful juxtaposition, and I wish so badly that Kodak Black was left off, as his juvenile rhymes do nothing but detract from an otherwise powerful piece of music.
[8]

Ashley John: Kodak Black is garbage. My favorite thing about rappers is that they rarely break character, and in the case of Kodak it’s clear he is making no effort to change. This song is fine, it’ll get plenty of success, and Kodak won’t have to think too hard about any of the disgusting things he’s done. With monsters like him all over the hip hop industry and everywhere, the world feels insurmountably toxic. If I was being “objective” this might get a different rating, but it feels like my voice is so small compared to the power and influence of dangerous men. So I’ll give it a [0] and call it self-preservation. 
[0]

Micha Cavaseno: Dreary as hell, no doubt the weight of success meant to imply gravitas, but drifts far too close to sad elevator music. Both these rappers can and will do better elsewhere.
[3]