The Singles Jukebox

Wikipedia facts: “Her parents exposed her to country music and Slipknot…”

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Wayne Weizhen Zhang: This sounds like coked-up Teletubbies making music. In a bad way. 
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Thomas Inskeep: She makes Bhad Babie — a performer I never imagined referencing — sound like Bob Dylan, or at least Jakob Dylan. Quite possibly the year’s worst single, in a banner year for bad singles. So, kudos?
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Edward Okulicz: Obviously meant to be consumed with its eye-popping video — away from it, it’s pretty toothless, like Nicki Minaj reconstituted as YouTube poop. Created for the lols, from rhymes you see coming to that extremely silly Middle Eastern preset, but honestly, it didn’t create a single lol for me. When she says she’s terrifying, it’s too ludicrous to even bother arguing the point.
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Nortey Dowuona: “Murda Bass” crunches under airy synth leads, then wilts under filtered 40-layer cheese bass while Ashnikko cartwheels over it, barely aware that she is on a barely painted streak of clouds and close to the the air. Then the clingy, shivering synths shake under her hands in the bridge between clouds; she jumps up and walks down the thundercloud, chuckling. She’s crazy and we like that.
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Tim de Reuse: “I’m crazy but you like that”; it’s a good line on paper, but that sentiment runs implicit through pretty much all of Ashnikko’s work, and spelling it out explicitly just isn’t as fun. Last year’s marvelous “STUPID” never felt the need to sit down every chorus and remind us that “I’m terrifying.” Without any other kind of narrative conceit to fill space, it’s an Ashnikko song bearing no ambition beyond being an Ashnikko song.
[5]

Juana Giaimo: Ashnikko creates characters in her songs, which I think could be an interesting premise. But the words don’t do justice to Daisy. The fact that she chose to portray a confident woman ready to confront mean misogynist people with lines like “fuck a princess, I’m a king”, “Make your man call me daddy” and repeating the word “bitch” just because, is the typical inversion of roles — something that by 2020 we’ve already listened too many times. Her braggy rap flow sounds fake and the melodic singing is out of place with such a minimalistic trap track. To make things worse, she uses the stereotypical idea of “I’m crazy but you like it” — and Taylor Swift already did a much more interesting song about that. And the laugh at the end of the first chorus is so annoying it was hard for me to finish the song.
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