A heavier beat and the faintest bass wobble provide some hope at the 90-second mark, but quickly give way to those somber string arrangements. The rest of us might take up their offer and jump out of that ivory tower.Įrick Bieritz: Both of these singers have proven themselves on hectic corkers, but Sandé’s album was soggy under the weight of her ballads and this collaboration isn’t any better. I’ll have to take Emeli Sandé’s word for it that “take it off now, boy” refers to peering into his beautiful soul instead of at Labrinth’s beautiful cock. Treating double entendres like single ones gives this track its frisson. Perhaps they even inspired love yet, alas, Labrinth remained sad.Īlfred Soto: When guys demand pussy while a string quartet gets all James Horner, well, there’s no accounting for taste. They inspired so much ill-advised doffing of clothes, so many wheezed serenades. They swept the British charts (for it is in London that our scene lies). Neither found a little wobbly corruption or resemblance to Enrique’s “Hero” to be imperfections, nor was Emeli’s insistence on mentioning Broadway offputting. They made music, so much fucking unending music. Now Labrinth needed a track. He consulted Emeli Sande, someone for whom “was sad” is a pointless descriptor, and it turned out she just happened to have some strings musting around. After a dreary afternoon bonding over Duke, MRA videos and lists of slang like “feels,” they’d written the topline. (Somehow.) Posner suggested innuendo, self-deprecating negging and a labored leer, like singing while simultaneously trying to huff the perfume out of a girl’s hair.
So he consulted Mike Posner, whom he’d met through Cher Lloyd at a party so sketchy she’d never again put dub on the track, and asked his advice after all, “Cooler Than Me” got him laid. He’d known clubs, he thought, but he’d never known love. Heretofore to be known as Labrinthe Melisande… Donnie Trumpet & the Social Experiment.Email (song suggestions/writer enquiries).