Rejected names for their coffeehouse project: Gary Indiana, Rhymes With P, Shipoopi…

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[4.67]

Alfred Soto: Thanks to a commercial, Jeremy Lloyd and Samantha Gongol hope they get the remuneration of Rae Sremmurd and Migos. Boujee it is. Whether it’s bad I’ll know if pop radio takes to it as well as it has. The quiet piano lick and the scratched vocal are menaces, though — hold on to this fact.
[5]

Iain Mew: I knew this was in an advert when I first heard it, but hadn’t seen it yet. It was obvious which part it would use, though — the transfer from piano and lightly padding steps to beats and cutting up the vocal into neat slices. Mostly because while that’s a decent trick, the following couple of minutes of reiteration feels superfluous in any format.
[4]

Hannah Jocelyn: I love the beginning — the piano loop coupled with the voice (enticing for someone who’s been listening to Sade a lot lately) makes for something pretty mesmerizing. Everything feels so smooth and chilled-out, but then the beat/chipmunk voice comes in, and as slick as it sounds all I can think of is “Hanukkah, Oh Hanukkah, come light the menorah….”
[5]

Tim de Reuse: A gorgeous voice, mixed to make every consonant feel like a pinprick and every vowel feel glassy and fragile — this is some very professional-sounding ASMR! It’s a little weird that they made a half-assed attempt to turn it into a song.
[5]

Katherine St Asaph: Someone’s heard that Natasha Kmeto cover of “I Wanna Be Down,” because this is its exact trick.
[5]

Ryo Miyauchi: She sounds too stiff singing “are you down?” and her “now isn’t the time to play it safe” lyric rings ironic in a verse that follows so strictly to a melody. The chorus tries to offer some sort of shake-up, but the bland vocal chop is no less passive. Marian Hill want a more thrilling Friday night, and I really do hope they get something more exciting going.
[4]