The Singles Jukebox

We throw on another layer of dirt…

[Video][Website]
[4.55]

Thomas Inskeep: Rozes was the singer on “Roses,” the first and least-objectionable song of the Chainsmokers’ now-world-conquering run. I won’t hold that against her. I will, however, hold the utter mediocrity and banality of “Under the Grave” against her — even the Chainsmokers would recognize how dull this is, and they’re idiots. 
[2]

Olivia Rafferty: Strong echoes of Sia in both of the vocals and melody, to the point where it’s difficult to distinguish where ROZES’ own strengths and personal flair comes in. Perhaps it’s in that fantastically unexpected key change each chorus.
[7]

Will Rivitz: The Chainsmokers’ “Roses” was great in part because ROZES was a commanding presence there, injecting personality beyond “generic EDM vocalist #5736.” Here, she drops most of that vibrancy, sounding instead like…Lady Gaga? I’m all for the rise of a new pop star, but ROZES will have to be more inspired than this.
[5]

Claire Biddles: I think Rozes is going for a kind of gothic Sia feel, with overwrought vocals, that spacey production that is everywhere this year, and a flimsy lyrical allusion to graves — just in time for Hallowe’en, right? But like the flower-crown wearing skull (really) on the single cover, “Under the Grave” is juvenile and unconvincing; a plea from a heart made of pastel-coloured plastic.
[3]

Ryo Miyauchi: In “Hangin’ On,” the skittering beat filled the empty spots where Rozes couldn’t touch. Here, they’re both writing over what the other has done on the same space. I’m trying to feel for a  down-and-out Rozes but the wall of sound drains me out and ends up muting the precious drama. “Sing it loud” goes the old trick, but here it does both no favors.
[5]

Juana Giaimo: I find Rozes’ voice in this song a little unbearable. In the verses, she tries being soulful and dramatic when it’s a song that would benefit more from a colder performance. The chorus aims at being an emotional burst, but instead of sounding in pain, she sounds like a drunk person with little control over her voice trying to get to high notes she can’t even sing when sober. 
[4]

Katherine St Asaph: “Please say you won’t forget about me,” Rozes sings, and there’s the issue, right? Pop still bestows stardom. It just bestows it on the likes of The Chainshitters, who’ve spent the past year turning the music media into their obedient frat pledges while contributing little of resonance to the tracks with their name. If you’re the likes of Rozes? “Under the Grave” is a fine example of how one can do everything right — guest on a hit single, write or come into a solo track that sounds like an adult-hits radio fixture, sing the absolute hell out of it — and get next to nothing.
[6]

Brad Shoup: An unknown phrase, spun out with identical urgency over and over and over.
[4]

Edward Okulicz: I listened for easter eggs after I heard Rozes say she’d taken the person she’s addressing for granted and thought “Well if you’re going to sound like Sia, go the whole hog too.” Rozes’ idea of emoting is even less subtle, emphasising her emotions with the nuance of a small child with a highlighter pen.
[3]

Cassy Gress: Both in terms of lyrics and in the way she sings it, this is a song for the way moonlit puddles look in torrential rains. The verses are sallow in comparison to the blast force of the chorus.
[8]

Madeleine Lee: Key changes are best used with careful timing to heighten the existing emotion of the music. This is a song about feeling numb to everything, which may explain why it has no idea how to use them.
[3]