First Impressions: ZAYN, All Saints, Charli XCX And More

FirstImpressionzFirst Impressions is an interns roundtable review of songs on their first (or second) listen. Each week we review six new songs from the past week, each giving them a score out of five and awarding our pick of the week. This week we pick apart tracks by ZAYN, Nao, Charli XCX, Baauer, Tokimonsta and All Saints.

It’s You

Zanda Wilson: If this song was a drink; it would be a non-alcoholic beer, but one that you expected to be alcoholic, and so therefore you are taking on maximum carbs at minimum efficiency. 2 out of 5 

Sam Murphy: I’m glad that we finally get to hear some of the Malay material from ZAYN and it’s definitely a different vibe to Pillowtalk. His voice is near-perfect and it’s great to hear some runs that we weren’t really able to hear on his 1D tracks but I can’t help but think he’s got more to give us. There’s gotta be some real gritty stuff on the album and that’s what I’m hanging out for. Also I can’t help but think this is a slowed-down version of 1D’s Gotta Be You. 3.5 out of 5 

Annie Cooper: I was excited to hear Zayn’s solo stuff initially, but between this and Pillowtalk I can’t help but feel really underwhelmed. I mean, at least with 1D there was that guilty pleasure aspect, but this track is kind of just nothing. His vocals are good and so is the production, but quite frankly I can’t remember what it even sounded like and the track stopped playing about two minutes ago. Hopefully his album will come bearing grittier tracks but I’m not getting my hopes up. 2 out of 5 

Jack Cain: Fuck off,  Zayn. 0 out of 5 

Meshell Webb: Nice to see Zayn being all grown up...leaving behind the childish realm of boybands and instead writing songs for the next Twilight film (they’re still making those...right?) 1 out of 5 

Average score: 1.7/5

Fool To Love

[soundcloud width="750" height="200"][/soundcloud]

Zanda: If this song was a drink; it would be a spiced rum or whisky, think Sailor Jerrys or even Canadian Club Spiced. Smooth as hell but with a slight kick that you probably weren’t expecting. 4

Sam: Nao has nailed that funky-electronica aesthetic. It feels like she’s got the perfect toolkit and she’s sticking to it which means all her stuff is starting to sound really consistent. This is another knockout. It’s effortless but also sounds really modern and fresh. Her voice is interesting but not in your face and it doesn’t seem like she’s forcing anything. So natural and so bloody good.

Annie: This track grabbed me from the start, and it only got better as it progressed. Something about it is giving me early '00s vibes, which I can’t get enough of- though it’s still undeniably very modern. Annie’s Pick

Jack: Another song like this, how fun. This song takes me back to 2013 when the first lot of producers started bringing this sound back. Not modern. Recycled. Kaytranada and Snakehips made this shit when no one cared. Still kinda cool, but yeah, not mind blowing. 3

Meshell: Will add to my cooking dinner playlist [I like to cook to sexy R&B...what of it?] but I’m with Jack when it comes to the production, it’s incredibly recycled. Luckily, it’s got some solid melodic content going on. 3.5 

Average score: 3.7/5

Charli XCX
Paradise (Feat. Hannah Diamond)

[soundcloud width="750" height="200"][/soundcloud]

Zanda: If this song was a drink; it would be a European Radler or American hard lemonade. You might be worried about it being overly sweet, but there’s some real substance there. Some may say that they’re not a fan of the style but you might surprise yourself by indulging. 4.5 Zanda’s Pick

Sam: I’m going to be really biased because I love Charli XCX to death and that love only grows stronger with every batshit crazy thing she does. She’s literally just established herself as a mainstream popstar and then she goes and starts her own label and released sugar-high tunes like this just because she wants to make cool shit. It’s a shame commercial radio only accepts different shades of vanilla because this could be a runaway hit if given the chance. 4.5 Sam's Pick 

Annie: I don’t know why it took me so long to get into Charli XCX, because this track and everything else she’s released as of late is killer. She’s come a long way since Boom Clap, and i’m very thankful for that. If her future releases follow in this direction, she’ll be making a big fan out of me. 4

Jack: Scooter called, they want their Logical Song back. What is this exactly? Sounds like a bunch of Minions shit into a sampler. 1.5 

Meshell: I would rather listen to the Donald Trump says China REMIX than ever have to listen to this all the way through ever again. 

Average score: 2.9/5 

Kung Fu (Feat. Future and Pusha T)

[soundcloud width="750" height="200"][/soundcloud]

Zanda: If this song was a drink; it would be a decent-quality whisky or bourbon. Think perhaps Monkey’s Shoulder or Maker’s Mark. Something that should probably be enjoyed alone but you might find yourself occasionally adding it to a playlist and mixing coke with. 3.5

Sam: The way I know Baauer is doing a great job at the moment is because I literally forgot that Harlem Shake existed until it popped up on my feed the other day. He’s forged ahead with dope tunes and this is another one of them. Getting Future on the track at the peak of his career is a clever move and it also helps that he suits the Baauer sound down to the ground. Still, Future adds the melody here but it’s Pusha T who raises hell. 3.5 

Annie: Getting Future and Pusha T on this track only proves that Baauer is becoming a huge artist in his own right. With that said, I can’t really get into this track. It’s undeniably catchy and I could definitely hear this being played in clubs, but it’s just not for me. It feels incomplete, as though it was building to something that just never happened. 2.5 

Jack: Big swing, no ding. 

Meshell: Sorry to say that I’m ready to fall asleep right now...but getting Future on your track is a smart move, now every fuckwit in Adidas Superstars and a Thrills t-shirt is going to think you’re a trap god. 

Average score: 2.7/5

Giving Up (Feat. Johnny Pierce)

[soundcloud width="750" height="200"][/soundcloud]

Zanda: If this song was a drink; it would be a long island iced tea. There are a whole lot of elements here that work together so well, but there’s nothing soft about what you’re drinking. Each part is just as important as what together they create. 4

Sam: At different points in my life I’ve wanted to be The Drums and Tokimonsta so this pairing is obviously right up my alley. The Drums were more of a circa 2010 thing for me but Tokimonsta is very much the sound of the future so she’s able to bring Johnny Pierce into 2016. This doesn’t hit as hard as the Anderson Paak-featuring Put It Down but it brings a haunting vibe that circles the ears nicely. 3.5 

Annie: The pairing of Tokimonsta and Johnny Pierce was a great one, their combined talents make this track one of Tokimonsta’s best so far. It’s pretty easy going, never reaching so far as to go over the top, but it really works. As a SoundCloud user stated, ‘this some magical shit’. 3.5

Jack: Hello, it's me the guy who hates everything. I was wondering if you were all wondering if I'd end up liking something. This is it, this is great, fuck yes. A beat that kicks in and takes you tumbling through your head and into a dancefloor, vocals put in their place nicely and a thought-provoking arrangement. Its 2016, this is living, Barry. 4 Jack’s pick

Meshell: A GOOD SONG! A GOOD SONG! Good to know those are still getting made. This is a clever and unexpected pairing. The piano is gorgeous and the choice of instrumentation in the chorus is charming and everything I love about Tokimonsta. 4 Meshell’s pick 

Average score: 3.8/5 

All Saints
One Strike

Zanda: If this song was a drink; it would be a smooth, dry white wine. Relatively inoffensive on the palate but not a whole lot else to back up the soft exterior taste. 2.5

Sam: For a group that really only have about three songs that I’ve circulated, it’s interesting that I still really care about All Saints. I think I’ll be forever paying them appreciation for adding a minute long monologue to the beginning of a pop song and that’s why I was really excited about them coming back. The best thing is, they’re not reuniting to join some ‘90s tour with 5ive and Bewitched, they’re actually making good tunes that sound like 2016 but also sound like All Saints. The harmonies are on point here, the vibe is Pure Shores and they don’t look a day past twenty.

Annie: I’m pretty sure the last song I heard from All Saints was on a Total Girl CD back when I was 9. I probably appreciated them more back then, this song isn’t really doing anything for me. Kudos to them for making a track that sounds more legitimate than a reprise of their old 90’s sound, but there’s still nothing too memorable here past the point of listening. 2.5 

Jack: I’ll “never ever” be listening to this again. 1

Meshell: I’m glaring at my computer screen cursing a certain somebody I know would have made sure this got a spot on the First Impressions list because it’s 2016 and there is no place for All Saints in my musical spectrum. Frankly I’m offended by the blatant attempt to rebrand as some sort of Haim rip off...and that’s coming from somebody who doesn’t even like Haim. 0.5 

Average score: 2.1/5 

Now time for your vote: 

[poll id="71"]


First Impressions: Sia, Santigold, SOPHIE And More


First Impressions is an interns roundtable review of songs on their first (or second) listen. Each week we review six new songs from the past week, each giving them a score out of five and awarding our pick of the week. This week we pick apart tracks by Sia, Santigold, SOPHIE, Stormzy, Aura and Mallrat.


One Million Bullets

Zanda: Most of the stuff I’ve heard from Sia in the past has really featured the upper range of her vocals. This one shows how unbelievable diverse her entire range is, by showing off how solid and soulful her lower range is as well. I don’t love everything about this song, but there is plenty to like. Although the production isn’t anything special, the effects used on her vocals create plenty of interest and engagement for listeners. 3.5

Sam: This is definitely the best thing that I’ve heard from This Is Acting so far mostly because it doesn’t have a forcibly big chorus. It’s sparse and gently produced allowing plenty of room to hear Sia’s textured voice. Remember when she wasn’t a big note singer and instead relied on that tone? One Million Bullets kind of brings back that Sia and that can only be a good thing.

Bianca: The way Sia's voice just hangs in the balance on some of those notes is really breathtaking. After the ear-assault that was Alive, it's really nice to hear Sia bring her powerful voice to such a delicate level. The chorus doesn't do much for me, providing much of the same old Sia recipe but the verses definitely make up for it. 3.5 

Who Be Lovin' Me (Feat. ILoveMakonnen)

Zanda: ILoveMakonnen’s rapping style almost sounds lazy but is so damn smooth. The thing that really annoys me though is his weirdly un-melodic singing. When Santigold goes to sing the same chorus line it’s much more satisfying on the ear, and actually sounds like she’s hitting notes, which he doesn’t appear to be doing. I understand that particular line of melody is quite dissonant, but it just sounds like he’s not even trying to sing in tune. Its unfortunate because I really like the production, that jingling percussion is really cool. 3

Sam: Ok time for everybody to jump back on the Santigold train. I feel like for some reason her last album turned people off a bit but this track proves that she’s one of the most innovative artists out there. Some people will hate this and that’s the mark of any really great, different song. I happen to love it because I think it sounds drunk and woozy in the best way possible. Santi and Makonnen are the perfect combination because they both have an eccentric tone to their vocals but together it really melds. I also like how Santi gives the first half of the song to Makonnen only to swan in and hit us with a knockout verse. 

Bianca: I love this. Singing out of tune hasn't sounded this good since my shower this morning. 4 Bianca's Pick 

New Thing

[soundcloud width="750" height="200"][/soundcloud]

Zanda: The mixing by Aura here is so good it gives me goosebumps. I’m not normally a huge fan of massively manipulated vocals either, but here they form a crucial layer of sound under Aura’s primary lyrics as well as filling in spaces in the texture. It’s a super cool exploration of how echo and other techniques can really change a melodic space with minimal actual change to any instrumentation. 4.5 Zanda’s Pick

Sam: There are so many people making dark electro-pop in Australia right now but this song proves that Aura is one of the most fascinating. I have to agree with Zanda - the mixing on this track is phenomenal. I love how her voice sits right at the front of the track. It really smacks you right in the face particularly when it first comes in. I’m getting very bored of hearing nice singers over electronic beats but this pushes that one step further and gains my attention. Instrumentally and vocally she lays it all on the line. It’s a risky, daring debut and she even says, “I fucking love it.” Well, I happen to also fucking love this. 4.5 

Bianca: The vocals meld beautifully into the instrumental. Her voice doesn't just sit on top, instead it's weaved within the complexities of the electronic melody. The beat kicks in just at the right moment, giving it the oomph it needs (and deserves). 4


[soundcloud width="750" height="200"][/soundcloud]

Zanda: It’s a poppy mix of synths, piercing sound effects and brassy fart noises. But it’s done so fantastically. The choral section towards the back end is so funky as well. I don’t even know what else to say. So good. 4

Sam: Vyzee feels like the ADD sister of Lemonade. Once again the lyrics are centred around fizzy drinks and the instrumental emulates that with perky, bubbling beats. This could be the most pop-infused single SOPHIE has done since Bipp and as annoying as some people will find it, it’s actually really hard to hate. I love the melody change midway through the song - that’s the sort of thing that’ll keep me coming back for repeat listens.

Bianca: My internet completely spazzed out right when I clicked play and I was sitting there for a good minute, thinking the glitchy repeating sound was the start of the song. Isn't it funny that a sound like that could legitimately be confused for a song these days? After I figured out my mistake and gave my computer a quick wifi-off/wifi-on, I was pleasantly surprised to hear something that sounds like the love-child of Lemonade and Bipp. There's just enough squeaks and squelches to make it a trademark SOPHIE song with a poppy chorus to spice things up a bit. I would've liked to hear a bit more of a build-up like at 1:08 but maybe I'm being too greedy. 


[soundcloud width="750" height="200"][/soundcloud]

Zanda: Stormzy is one of the kings of grime, but this song is surprisingly not all that grimey. Standard is a showcase of Stormzy spitting straight fire, and it’s all about those words. The production is nothing special, but that’s not the point. This is all about his lyrics, which by the way are incredible, and the incredible way that he forms lines and raps is something to behold. 4

Sam: Ooooooh, this could be the sequel to Shutdown. The repetition of “standard" has the potential to really make it a classic because as Shutdown proved, people go crazy for that sort of stuff. There are a few garage influences here but for the most part I’m hearing production straight out of A$AP Rocky’s latest record. There’s definitely a US influence here which could play really well in Stormzy’s flavour in terms of crossing into that market - not that he’s calculated at all. Lyrically, it’s another phenomenal energetic and aggressive performance. He’s not the brightest new grime star right now, he’s the best new rapper right now. Period. 4.5 Sam's Pick 

Bianca: Stormzy's tracks are built to be enjoyed live. I'm finding it impossible to sit here in my computer chair and listen to Standard in my tinny iPhone headphones without jumping up with my hands in the air. Is it inappropriate to initiate a death circle at work? 


[soundcloud width="750" height="200"][/soundcloud]

Zanda: A cool tune, that chorus line is pretty damn catchy. Loving the summery, shimmery production as well, but it kind of drags on a little for me. The most interesting part is that bridge line that plays around with the vocals but it’s far too short to be a feature of the track. 2.5

Sam: I lost it for Mallrat’s last song Suicide Blonde and I’m back on board for this one too. I can’t believe she’s so young and yet she’s managed to find a really unique niche that has the potential to break outside of Australia in a heartbeat. Even though she’s beyond her years in terms of talent, Sunglasses sounds young and cool. She sounds bored in the same way that 16 year-old you got bored of your neighbourhood friends. Still, she’s managed to turn that into something really interesting kind of like rap/electronic music’s answer to Courtney Barnett. 4

Bianca: I don't understand how someone can be so cool at such a young age. If I was given the opportunity to create my own music at 16 I think I would have sung/rapped badly about subject matters such as Sass & Bide jeans or my first Smirnoff Black. My uncool youth aside, Mallrat really pulls off this track purely with her attitude and rhythm. The production is simple but I don't think it needs to be too over-complicated in this circumstance. Perhaps a bit more of what we hear in the verses and a bit less repetition would have really made Sunglasses shine. 

Now time for your vote:
[poll id="64"]


First Impressions: Adele, RÜFÜS, Childish Gambino And More


First Impressions is an interns roundtable review of songs on their first (or second) listen. Each week we review six new songs from the past week, each giving them a score out of five and awarding our pick of the week. This week we pick apart tracks by Adele, Tkay Maidza, TOKiMonsta, Childish Gambino and more. 

When We Were Young

Zanda Wilson: I’ve never been a huge fan of Adele, but this song is moody and captivating. The vocals in particular give the song all its strength and backbone. Apart from Adele’s vocals though, there isn’t much here that no session instrumentalist couldn’t do. I appreciate that she’s a fantastic artist and vocalist but I can’t see anything special here. 2.5

Sam Murphy: Adele and Tobias Jesso Jr. are just such a great pairing because they both write really honestly and also tap into nostalgia with ease. This is my personal favourite of 25 because it’s a ballad, like much of the album, but it’s so natural in the way it unfurls. There’s no obvious, stadium-ready chorus but there’s so much emotion and power behind what she’s singing. I love at the end when she sings, “I’m so mad about getting old it makes me reckless.” Getting old is bloody scary even in your mid-20s, I can’t imagine what it’s like when you’re doing it in front of the whole world and titling your albums accordingly. 4.5

Annie Cooper: Adele’s not someone I listen to on the regular, but with that said it’s undeniable that she’s one of the most powerful musicians right now. It’s kind of hard to review any song she makes, because even if she sung over the backing tracks to Watch Me Whip, her vocals would still overpower that bullshit. This track is a good example of that, her voice sets the mood and is 100% the focal point here, while the backing instrumentals are just okay for me. 3

Jack Cain: Recently I talked about a song that had in it what sounded like to me the choir of 10 prepubescent boys singing all at once. I forget what the song was called mostly because I didn't care about it and hated it. In this wonderful Adele epic there is also a choir (it comes in at the 3.40 minute mark). And that people is how it's fucking done. This is a hit, this is a song that when you're a music producer standing in the mixing room, putting on the final touches, you know you've got yourself a ballad to rival some of the best (eg: Total Eclipse Of The Heart). It's everything all Adele fans want and expect from their cherished international treasure. She is the biggest thing in music, with one of the best voices of all time. All of what I just said are the first things you think listening to this. If you look any deeper, you're expecting too much. 4

Average Score: 3.5


[soundcloud width="750" height="200"][/soundcloud]

Zanda: A nine minute epic from these guys was definitely not what I was expecting, but dayum I’m glad they made this one. The start almost sounds like the introduction to something by Deadmau5, but once the rhythm comes in it's RUFUS all over. The bass just oozes funk and as usual the vocals are echoey and mysterious. There is so much going on in the synth layer as well, and the percussive layers are also used in such a multitude of ways. Just fantastic stuff. 4

Sam: This one’s a difficult one for me. On one hand I applaud RUFUS for doing something ambitious and nutting it out for nine minutes but on the other hand it sounds like an extended version of everything else we’ve heard from them over the past few months. It’s definitely beautiful and sprawling but I can’t help but feel myself nodding off after about four minutes purely because of the fact they’re not giving us anything new. It’s a deep house beat with wistful vocals which has been done over and over. There are some really great parts in this but maybe I was just deterred by the run time. Almost like when you think you’re going to be in the RTA for 20 mins and you end up there for two hours for seemingly no reason other than they didn’t hurry the f**k up. 2.5

Annie: My first reaction after realising this song runs for 9 minutes was "I don’t have time for this shit", but it wasn’t as terrible as I had anticipated. It’s typical RUFUS with its mysterious vocals and superb bass lines, and I definitely enjoyed this more than anything else they’ve released lately. Full disclosure though, I did find myself skipping forward a few times. It’s a good track, the length just feels unnecessary. 2.5

Jack: I was sent this tune on promo the other day, I'm a huge fan of Sweat It Out (the record label) and I usually open everything I get and listen to it right there and then. This song's been out for two or three days and I still haven't listened to it. But here it is in this thread, so here goes.. lol brb.

Okay, so my fears have been confirmed. The intro kind of reminds me of the theme music to a really shit '80s sci-fi movie. then da beat drops and the vocals come in. Honestly, I can't even say anything else. Just holla at me when y'all write a different vocal melody for one of your songs. As for the rest of the song, it's a musical yawn and it's lazy. Can we please bring back The Presets and the Pnau’s (there is so a new album coming) of the world? 2

Average Score: 2.75

Tkay Maidza

[soundcloud width="750" height="200"][/soundcloud]

Zanda: Tkay Maidza has played pretty much every festival in Australia this year, but that obviously hasn’t kept her out of the studio completely. This might be her best track to date, in no short part due to some incredible guest producers. I can hear quite a strong Baauer influence with the dark vibes and darker beats. Tkay’s rhymes are flawless and rhythmic, and the bass is absolutely banging.
4.5 Zanda’s Pick

Sam: I’ve loved watching Tkay’s trajectory this year. From a massive Splendour In The Grass set to a sold-out national tour she’s just continued to grow her fanbase purely based on the fact she’s got a great stage presence and excellent songs to boot. Ghost is her first real big name collaboration but she still manages to come out as the main event atop George Maple, What So Not and Baauer. It’s one of the darkest things she’s ever done and perhaps also the heaviest. It forces her to annunciate more and bring a tougher flow which is great to hear. The hook is so strong and Maple’s coos in the background only add to that. 4

Annie: Tkay is one of my favourite artists of this year, and this could well be my favourite release from her thus far. Everything about this is just flawless, from the obvious Bauuer and What So Not influences, to her flawless vocals- I love this. Just envisioning this live gives me chills. If her next releases follow in this vein, I will be one happy girl. 4.5 Annie’s Pick 

Jack: It's very well-produced and features a bunch of artists that are easy to love. Tkay has a killer flow, and it really just leaves me wondering how long until she takes over the world and is rapping on tracks with Dr Dre. I'm gonna give this a 5, because each person featured gets a 1 for their part, which is an automatic 4 and its easily the best song of the week. 5 Jack's Pick 

Average Score: 4.5

Put It Down (Feat. Anderson .Paak and KRNE)

[soundcloud width="750" height="200"][/soundcloud]

Zanda: A well-produced track here, in that the production is seamless and smooth. However, that chord progression is interesting for about the first thirty seconds and after that it’s just annoying and repetitive. I definitely expected more from the drop as well. The rapping is monotonous and again, repetitive. The piano at the back-end redeems it somewhat but overall I’m not a huge fan. 2.5

Sam: TOKiMONSTA is probably one of my favourite producers of the last few years and Paak is a voice I’ve been raving about for the better part of this year so I’m suitably hyped to see them teaming up again. Paak’s vocal on this is perfect and that’s aided by TOKi and KRNE’s well-crafted chords but it’s the drop that I think steals the show on this. I love the melody injected into those really dense horn sounds. But then there are also the horns under Paak’s voice in the verse sounding excellent so maybe I’m going to retract my initial statement. Basically, I haven’t decided what I like most about it because I think the whole thing is next level. It’s one of the most accessible things TOKi has put out and I hope she gets her dues for it. 4.5 Sam’s Pick

Jack: The drop really disappoints me and kind of makes me hate the song, I don't know why songs with a bunch of vocalists need to be turned into some trap anthem. Other than that, this beat is pretty sick, and it is very nicely produced. Pakk kills it and I do agree with Sam, it's the most wholesome and accessible thing TOKiMONSTA has done. I think it's safe to say we will be hearing this song well into 2016. 3.5

Average Score: 3.5

Childish Gambino, Vince Staples
Waiting For My Moment

Zanda: An interesting use of horns and strings here, giving the whole thing a kind of orchestral feel to it. The sections with raps and vocals definitely provide more interest, and unfortunately for me there is just too much build up with these orchestral periods lasting minutes at a time. It’s also quite random in its structure, and although various elements fit together I feel like it’s a track that doesn’t know quite what it wants to be. 3

Sam: On paper, this sounds really good. Jhene Aiko, Vince Staples and Childish Gambino is a winning trio but it sounds lame and limp to be honest. “Fighting hard and stronger,” over horns and a choir is really predictable for a boxing movie. It sounds like it’s something Muse have had a hand in which is never a good thing if you’re not looking for something to soundtrack Cathy Freeman lighting the 2000 Olympic flame. Structurally the song is a dog’s breakfast too. Really disappointing. 2

Annie: I’m really confused about my feelings towards this song. Structurally, it’s quite random- I found myself loving some parts, and then feeling bewildered at it’s quick change into something else entirely. It’s orchestral feel (at some points) was a nice touch, but it doesn’t quite fit. It kind of just sounds like a mess, but I guess I didn’t mind it? 2

Jack: I feel like I've just watched The Lord Of The Rings simultaneously with The Sound Of Music whilst also watching 50 Cent's Candy Shop intro on repeat, which leads to a Diamonds Are Forever-esque segue which leads to chants from Blood Diamond. Um yeah, I don't know what this is. I kinda of like it in some parts. It's clearly a hybrid score to the movie Creed (which is meant to be good). Hey, Gambino: if you wanna know how to rap in a movie watch Django Unchained. Now that's a rap score. 1.5

Average Score: 2.125


[soundcloud width="750" height="200"][/soundcloud]

Zanda: Very brooding and mysterious, and I’m loving the delay effect on the percussion. KLOE spends a lot of time on this track playing around with texture and melodic space, with various aspects EQ’d very deliberately in ways that make you listen really hard for the effect. It’s captivating, the vocals are gorgeous, and theres a lot in the accompanying layer to sink your teeth into. 4

Annie: This is one of those songs that grow on you as they progress, leaving you obsessed. KLOE’s vocals are gorgeous, and when layered with the percussion of this track- make for something really impeccable. I’ve never listened to KLOE before and after this song, I’m hooked. There’s so many aspects to this song that make it as delightful as this in, I’d recommend it to anyone. 4.5

Jack: I like this. Her voice reminds me of the '90s. Gwen Stefani, is that you? 2015's answer to 2005 Gwen Stefani is a good title. So Kloe, I give you that. Take it or leave it. Although, I'll make a comparison to Hilary Duff. Don't care what anyone says, Come Clean is a tune.

Average Score: 4.16 

Now time for your vote: 

[poll id="63"]