With Okay-pop, it’s gotten to the purpose the place I can virtually predict how I’ll really feel a couple of music from its title alone. The exclamation “Gratata” sends shivers down my backbone, conjuring photographs of lame finger-gun dance strikes and clanging beat drops that hit with all of the nuance of a bathroom tumbling down a staircase. That is to say: the destiny of Lapillus’s Gratata was all however sealed earlier than I even pressed play on the music video.
Look, I really feel for this group. They had been already saddled with one of many worst debut tracks of the yr they usually’re managed by an company that has its justifiable share of points. With this in thoughts, Gratata isn’t practically as dangerous as I’d have anticipated. The issue is, we’ve heard this precise music a minimum of twenty occasions over the previous yr or two. There’s actually nothing distinctive about it. This makes it tough to have any opinion about Gratata – both good or dangerous. It’s a well-produced facsimile of a development that — in opposition to all odds — nonetheless appears to have tooth throughout the trade.
On the plus aspect, I get pleasure from elements of the instrumental. I can’t inform if that’s sitar I’m listening to or simply some fancy synth run by a filter, however I admire the manufacturing’s inexhaustible power. It doesn’t lurch right here or there, or drop out simply if you count on it to get good. Sadly, there isn’t a lot of a music draped over this instrumental. The ladies are made to shout from starting to finish, whether or not it’s the titular (and oh-so-predictable) chant or the incessant sing-talk of the verses. Even when their vocals get a highlight through the pre-chorus, the melody stays clipped and unremarkable. It’s a disgrace, as a result of Lapillus received’t be capable of distinguish themselves from the pack with materials this uninspired.