#Gerreaux Katana

[thesinglesjukebox]

FLO MILLI - "NEVER LOSE ME"

Don't worry, Flo -- we definitely don't want to lose you!

[6.22]

Alfred Soto: Charming, and I won't change it if I catch it on the radio, but Sexxy Red added panache to her sexxytalk. [6]

Harlan Talib Ockey: “Hey, remember that weird era when a bunch of female rappers had a run of awkward, Doja-inflected, pop-friendly singles? The Flo Milli ones were subpar." [4]

Nortey Dowuona: Apparently the original beat by Gerreaux Katana, who is popular enough to place a beat with two rappers but still has a Beatstars page that if you make any kind of music you should immediately peruse, samples the soft, plaintive track "Anata Ga Iru Jinsei" by Jin Kirigaya, a Japanese balladeer. I hope he makes a mint from this (he won't), because it is a beautiful song. I wholeheartedly agree: you don't ever want to lose her. [7]

Jacob Sujin Kuppermann: Slightly surreal to hear Flo Milli in such soft focus. Babyface Ray and 42 Dugg used this Jin Kirigaya loop the way they tend to use '80s R&B of its ilk, a gleaming counterpoint to the grime of their raps; Flo Milli plays it straight but subverts her own reputation. If she didn't sound so poised here, it'd be easy to write this off as a crass bit of pop crossover. Instead, it comes off as a bit of a flex, a demonstration that she can be nearly as compelling when her taunts are buried under layers of gloss. [7]

Dave Moore: Finding a midpoint between hypertrap drone and the cheesy demo instrumental for a new DAW plugin isn't a bad look for Flo Milli, whose best track from last year was kinda her worst: PG-13 "BGC," which would have sounded great soundtracking the kind of teen sex comedy they stopped making at least a decade ago. But her personality doesn't quite work for modal rap. I hate to say that she should be selling out harder, but fake suits her. [5]

Taylor Alatorre: Not the complete abdication to romantic and sexual bliss that it might seem at first -- the title is an implicit threat, after all, and the secondhand beat carries the air of something unsettled, as if searching for a steady focal point that just isn't there. Flo Milli doesn't prod at these nuances because she doesn't need to, and also because it would eat up too much of the two-minute runtime if she tried. [6]

Katherine St. Asaph: The insistent repetition of "tell me you'll never want to lose me" -- I measured, and the line makes up about one-quarter of this 2:07 song -- lends "Never Lose Me" a palpable possessiveness that's a touch Fatal Attraction, in a good way with interesting subtext. Between this and "Kill Bill" -- maybe add in various reappraisals of that film and similar -- we've got ourselves enough for a trendpiece! [7]

Leah Isobel: Flo Milli is irrepressible; even when she's drafted into this glittering dreamscape, she finds ways to push her voice outward, away from the aqueous sensuality of the piano and toward the straightfoward throb of the drum track underneath. It's nice! And a little awkward. [6]

Ian Mathers: There's enough sustain on the piano that it feels warm, layered, almost humming. For an interlude (sorry, TikTok) length track like this, something that just sounds good like that, plus a pretty basic beat and a winning/punchline-dense performance on top, are really all you need.  [8]

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