In the context of its field,”Somebody Like You” is shockingly maximalist, like if Jim Steinman listened to SZA. Jacob Sujin Kuppermann: So much contemporary R&B has fallen into a chill abyss, making dreadfully boring quiet storm derivations or hookless vibe records. Now I just feel more lost and more useless. Damn, I was hoping I’d feel seen as women in rap and my own womanhood were finally allowed to exist. I need to be allowed moods, not acknowledge that something is the “mood.” As I find myself, more and more the boys are disappearing in nonsensical keening and the ladies are hardened warriors who feel divorced from their emotions in rap. Maybe I’m myself too entitled to want more, but I want the range of personalities, I want the extremity. This could easily be a Drake or Kanye song that I know half of this site alone would happily lampoon if it was just some man. Watching her turn away to generic stadium pop ballading about vague romance that in reality is just about her own expectations is… tiring. Bree Runway is similar in that I don’t hear the glee of the excess, I’m just served a whole lot of c*nt in flat disinterest and expectancy. Yet there’s none of the hysteria or surging peaks that embody my delestrogen flooded mess of a life. And that’s the weird thing I keep bumping into whenever someone tells me the various Cardi & Megan or even Rico-type rappers are meant for me. But for the most part, what other women seem to love is truthfully more masculine energies: bombast, smug certainty, martyr complexes. The closest I’ve had in a while is the spoilt glee of your Flo Milli’s and your Bali Baby’s. Micha Cavaseno: Life was kind of semi-cruel to me in that as I learned to explore my femininity, I learned how difficult it is to find that same energy in rap. Maybe she needs the right producer + beats combo. I don’t want to hear Bree Runway coo sweetly, nor am I taken in by her brag mode. That is a such a horrible, horrible shame and waste.Īlfred Soto: An estimable talent turns to the sort of neither-here-nor-there gesture she hopes will bring in the streams. And then for the last minute when the gear shift is supposed to go up to ridiculous, it goes down and quietly rants itself to sleep and sounds terrible doing so. Pulling off the trick of being massive and cavernous but also slinky and enticing, there’s very little to not love. She’s still too strong to be mashed down.Įdward Okulicz: Eee, I feel so conflicted about this, because for about 2 and a half minutes, this shapes up as a modern take on an overblown ’80s power ballad, and does it very well. Yet she stays noticeable and visible even as the drums hammer, doubled with vocoder as they fade into the synths. In fact, the song seems to lean into it, as Bree soars off into a carrying coo that slides above the BUMBADUMDUMDUMDUM and takes flight, all combining into a blinding light over clashing sonic pieces. Nortey Dowuona: The gossamer synths that seem worrisomely similar to “In The Air Tonight” are so quickly harnessed by Bree’s plaintive yet powerful voice, seemingly empowered by the rumbling bass and slapdash drums, that the similarity doesn’t sink it. A grand, cavernous devotional with hooks slung over every passage, it pulls itself tighter and tighter over the course of its four minutes when Bree finally sings that she would die for somebody like you, the stakes feel so high that you get the sense she actually might. “Somebody Like You” does not suffer from this problem. Leah Isobel: As delightful as it’s been, Bree’s major-label work has generally felt a little slack. We’ve been runwaying around, always looking down at what we see… Donnie Trumpet & the Social Experiment.I LIE HERE BURIED WITH MY RINGS AND MY DRESSES.Email (song suggestions/writer enquiries).
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