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

Candidate passages:
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."
"Make the World Move" received a mixed response from music critics.
Stephen Thomas Erlewine of Allmusic described the collaboration between Aguilera and Green as a "pulsating party," while Andrew Hampp for "Billboard" described the song as "a barn-storming party anthem".
Hampp was complimentary of the song's arrangement, writing that it is something that would have worked well on Aguilera's fifth studio album, "Back to Basics" (2006), which features prominent 1940's music influences.
He praised da Kid's production, writing that he has bought a 1940's inspired song into the "2010s".
Annie Zaleski of "The A.V.
Club" wrote that the "Make the World Move" is "a dizzying duet" and is "downright inspiring."
Sarah Rodman for "The Boston Globe" demonstrated admiration for the song, writing that it is "impossible-to-resist."
"Newsday"s Glenn Gamboa was brief in her review of the track, writing that the song is "playful."
In comparison to the previous track on "Lotus", "Red Hot Kinda Love", Chris Younie for 4Music wrote that "Make the World Move" is "not the same", but "by no means hugely different."
Younie continued to say that the song is "a bit retro and a bit modern" and "a bit underground but a bit mainstream."
While he praised the chorus and its memorability, Younie labelled the track as being "lack–lustre following 'Red Hot Kinda Love.
Sarah Godfrey of "The Washington Post" described the song as a "strange" dance version of Buffalo Springfield's "For What It's Worth".
Robert Copsey wrote that the song did not fulfill his expectations.
Michael Gallucci for Popcrush noted that as the fourth song on the album, it "keeps the party going", but is forgettable.
"The Huffington Post"s Mesfin Fekadu criticized "Make the World Move", along with album tracks "Around the World" and "Red Hot Kinda Love", for failing to capture the "fun" in which they are supposed to embody. 
"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". 
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.