Question: What did Andrew Unterberger compare the song's chorus to?
About the article "We Are Young", section "Composition and lyrical interpretation".

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Many critics over the years has questioned the song's lyrical meaning, mainly the line, "I want It That Way".
Ben Westhoff of "LA Weekly" dissected the song, writing that its lyrical content "makes zero sense."
For Westhoff, "Mainly, the meaning of 'that' is at issue."
While analyzing the lyrics, Westhoff perceived that, "None of the sentiments in the chorus seem to go with any of the other ones.
Even worse, no further explanation is given for what 'that' is."
The critic assumed that in the song "someone simply don't like it when its lover express preferences, never wanting to hear when his girlfriend says she wants things in particular ways."
Andrew Unterberger of "PopDust" also questioned its lyrics, writing that "the song doesn’t make a whole lot of sense — more on that in a minute — and in the odd phrasing of the title and certain other key lyrics."
Unterberger also noted that "The phrase 'I want it that way' is similarly devoid of inherent meaning, but it’s used recurringly as a kind of conclusive phrase, always calling back to those first two lines, as the song gets gradually more despairing in nature."
Unterberger also found out that "The chorus would appear to be in direct opposition to the rest of the song.
"Unterberger concluded that the song "is about a relationship that’s troubled by matters of emotional and/or physical distance, but that the singer feels strongly enough about to keep it going just the same…until the chorus, at which point he decides that it’s not worth the trouble.
No, it doesn’t make sense, but it’s still stirring, beautiful in its own weird way, and undeniably unforgettable.
And frankly, we wouldn’t want it any other way."
Kevin Richardson, member of the band, explained in an interview that, "Ultimately the song really doesn't make much sense."
Richardson also wrote that Max Martin, who co-wrote and co-produced the song, barely spoke English.
"His English has gotten much better, but at the time...," said Richardson.
"There are a lot of songs out there like that don't make sense," he continues, "but make you feel good when you sing along to them, and that's one of them."
Music critic Ian MacDonald praised the song's "emotional depth" and used this song and others as counter-arguments to the caricature of McCartney as an emotional lightweight.
Richie Unterberger of Allmusic also praised the song and its "infectious chorus".
This song was revisited briefly during the stressful rehearsals that were recorded for the Get Back/Let It Be project, with Harrison playing the lick and McCartney joining in. 
Before the release of the album credits, Andrew Unterberger of Popdust had compared "Red Lipstick" to Metallica "Wherever I May Roam" ("Metallica", 1991) as Unterberger noted that the song's opening synths are reminiscent to the riffs at the start of "Wherever I May Roam".
It is a dubstep song.
The song is one of only a few included on "Talk That Talk" to feature overt suggestive lyrics, including "do you right here while the whole world watching."
During the chorus, Rihanna chants "Let me grab my tit while you sit on top" with an aggressive tone.
Lyrically, "Red Lipstick" is a song about drugs and the pressure of being a celebrity, pondering the thoughts about "where the private ends and the public begins.
"The song received generally positive reviews from music critics.
Michael Cragg of "The Guardian" wrote that "Red Lipstick" was reminiscent of songs featured on Rihanna's fourth studio album "Rated R" (2009), with specific comparisons to "G4L" and "Wait Your Turn".
Priya Elan of "NME" wrote that "Red Lipstick" sounded like a cut from a Katy B album, an English singer-songwriter whose music draws heavily from dubstep, R&B and house genres. 
"Sins of My Father" is a soul song with prominent blues, dub, Motown and reggae influences that runs for three minutes and 56 seconds.
The song's instrumentation consists of bass, keyboards, guitar, drums, horns, saxophone and strings which are played by the Czech Film Orchestra.
According to Jim Farber of "Daily News", "Sins of My Father" consists of "some of the sexy, retro shading" that can be seen in the Remi produced songs by Amy Winehouse.
Popdust's Andrew Unterberger commented that the track "sounds like a death rattle, a hypnotically low bass line slinking around some ominously shook maracas, a molasses-slow drum loop, and by the end, even some John Barry-cinematic-style strings."
He further stated that "Sins of My Father" is a step "bluesier and evil-er, sounding more from the legacy of Howlin’ Wolf and Screamin’ Jay Hawkins—not quite as guttural, but Ush still uses all the tools at his disposal, even breaking out the fake voodoo accent, and more than gets the point across.
"Lyrically, "Sins of My Father" is about being a "tortured soul" in a "volatile" relationship.
Trent Fitzgerald of PopCrush hinted at Foster to be the bases of the song.
The narrator "believes that his bad relationship is karma for his father being a rolling stone."
"Sins of My Father" begins with Usher gasping "My sons, Keep them ... please forgive me."
Unterberger of Popdust concluded that the track gets more intense, as Usher sings in the song’s opening verse: "I think this woman went and put a hex on me / Oh now, why’d I let her go and put that sex on me?".
The pre-chorus features Usher yelping in falsetto: "But she didn’t make me pay for it with my money!
/ OWWWW!!!".
According to Erika Ramirez of "Billboard" magazine, "Usher soulfully pays for his father's promiscuous ways over melodic soundcapes". 
The song has received positive reviews from most music critics.
Robert Copsey of "Digital Spy" was positive, giving the song a rating of 5 out of 5 stars, praising the "80s-styled funk beats and wildly infectious percussion", the "singalong chorus may be a hasty reminder that his strength lies in fist-clenching".
He also wrote that considered the song "one of the most interesting musical evolutions of 2012."
Jody Rosen of "Rolling Stone" gave the song 3.5 out of 5 stars, writing that "The song is about unbridled passion, but as usual with Mars, the aesthetic is tidy and impeccable, pop songcraft polished to a high-gloss gleam: jittery Police-esque rock-reggae verses that erupt, amid thunder-boom synths, into a steamrolling four-on-the-floor chorus."
Andrew Unterberger of "PopCrush" also gave the song a rating of 3.5 out of 5, calling the song "raunchy yet subtle" and praising the song for being "classy enough not to get graphic or vulgar", and also praising Mars' vocals on the track, calling them "smooth".
Andrew Unterberger of "PopDust" also gave a positive review, giving the song a rating of 4.5 out of 5, calling the song "hyper-energetic, funky, slightly retro", however he said that it was the "tiniest bit disappointing" that more was not added to the song's chorus.
Nonetheless, Unterberger called the song one of "the most fun, dynamic, and exciting songs" of 2012.
Carl Williott of Idolator also gave the song a positive review, writing that it "shows an interesting musical evolution," and called the song "interesting" and evolutionary for Mars.
JT of "Neon Limelight" also praised the song, calling it "irresistible" and "funky".
Ryan Reed of "Paste Magazine" called it "a driving pop anthem that moves from a punchy, 'Roxanne'-esque new-wave groove to a soulful, synth-driven chorus."
Matt Cibula of PopMatters further explained the track, writing, "It starts out like an early Police single, with some straight-up "Reggatta de Blanc" syncopation and a shockingly good Sting vocal impression.
But the chorus opens up to turn into something less Police-y and more, dare I say it, Bruno Mars-y."
Kitty Empire of "The Observer" wrote that the song "channels the Police, but its 21st-century builds owe as much to rave-pop as they do to producer Mark Ronson.
It's an ill-omened meeting that somehow gels."
Jason Lipshut of "Billboard" gave a very positive review, stating that "'Locked out of Heaven' is Mars' best solo single to date, with the singer-songwriter yelping about fornication as a tossed salad of chopped guitars and vocal exclamations buttress his sumptuous leading-man act.
Sometimes, the perfect lead single is hard to find; other times, it walks right up to you and delivers a big, cozy hug."
Melinda Newman of "HitFix" praised "Mars' singing and the catchy little background vocals," which according to her, "keep the song moving downstream at a rapid pace."
She also noted that "Even clumsy lyrics like 'your sex takes me to paradise' can’t diminish that joy that the beats and melody bring."