The Singles Jukebox

And now we welcome Tanzania to the Jukebox…

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Patrick St. Michel: “Warm” is the word with this song, where guitar wraps around a skippy beat and every voice gets dunked in sweet, sweet Auto-Tune, making every single word sound like its melting into a puddle. All of that’s great, but after a bit everything sort of just turns into sonic mush, albeit a very happy one. 
[6]

Jonathan Bradley: Diamond Platnumz has a name suggesting hard edges, but his song is soft and ecstatic and bubbling. It sounds like kind of happy dream that floods unbounded reality with unbounded joy. That is not to suggest an excess, but more a feeling undiluted: these keys are only major. 
[7]

Iain Mew: It’s difficult to make a song sound so easy-going and energetic at the same time. Diamond Platnumz and Mr. Flavour go for an inventive series of little changes and gestures to keep the song changing, climaxing in all the vocal filtering applied to make “I can’t deny your love!” sound like an exclamation powered by something out of the ordinary. All the while, though, they keep everything pointing in the same direction, swept along by the gentle currents of the underlying groove.
[8]

David Sheffieck: Laid-back and catchy, but I miss the promise in the sample of crowd noise at the beginning of the track: weave that vibe through the song and you’d have something a bit less sterile, a bit more loose, a whole lot more welcoming. A version of this song that could precisely capture the comfortable warmth of a summer evening would be great. The approximation still isn’t bad.
[7]

Edward Okulicz: “Nana” is sweet and happy enough to be anyone’s summer/winter/anytime jam, but its many hooks are trapped in that prison of Auto-Tune. The exclamation “I can’t deny your love” almost gets out unscathed, but while not robotic in the traditional pejorative sense of the word, it sounds lacking in human excitement. It is worth a close listen for that interjecting instrument that sounds like a string sample, which weaves a lovely countermelody now and then.
[5]

Thomas Inskeep: Tanzania’s biggest hip-hop star makes a pleasant, easily grooving single that I wish didn’t rely so much on vocal processing. 
[4]

Brad Shoup: Everything here steps so lightly, like a club hit inscribed on a grain of rice. Tiny cymbal hits, tiny snape raps, guitar noodling so thin it’s vermicelli. Mr. Flavour one-ups Diamond’s smile: he beams, tosses his head back, and shoots the song further into the clouds.
[8]

Ramzi Awn: Auto-Tuned The Little Mermaid is a fresh approach — Diamond deserves credit for that at least. Unfortunately, there’s no good reason to not just put on “Under the Sea” ft. Scuttle and call it a day.
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