The Singles Jukebox

Reggaeton puns: harder than it seems…

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[6.29]

Micha Cavaseno: Militant, crisp & regimented way before the divine threat of Dem Bow comes in, there’s a delightful cinematic quality to the melodrama here that works wonders. It’s an effective roller, the perfect thing to help keep the excitement hanging in there, but it doesn’t really push beyond the standard enough to seem like a proper banger that can slay the audience. More or less, it’ll just keep it moving, and we keep it moving…
[6]

Juana Giaimo: I don’t attend night clubs frequently, but I’ve been there enough times to realize that reggaeton is not for listening but for dancing. Therefore, to rate a reggaeton single, you need to think how it’d work on the dancefloor; will it become that classic that people celebrate or is it just a transitory filler? Although it may seem that the formula of reggaeton is repetitive and easy, it actually isn’t, because it needs that vibe made from a catchy chorus and a powerful rapping verse that no one will care to learn. While “Déjate Amar” has an acceptable chorus, it lacks personality. The rapping verse takes away energy from the song rather than giving it; it seems to be totally disjointed from the rest. People will inevitably dance to it, but after a while it’ll become dull.
[4]

Patrick St. Michel: The right gallop paired with a juicy vocal melody and taffy bass. Just a solid sounding creation.
[7]

Will Adams: The distorted synthbass yo-yoing in the background accounts for about 80% of this thing’s interest, but Yandel spins out a good enough chorus to keep it afloat.
[7]

Brad Shoup: That acoustic part is mesmerizing; I hope it seeps into country music. We’ve got the sung, slo-mo entrancement, and the rather trad rapped bits; perhaps it’s a necessary contrast, but I’d love a song full of that near-dissolute gaze.
[7]

Scott Mildenhall: A rare occasion where it was better not to check the translated lyrics, because they’re boring. Still, for the talk of becoming one, Yandel makes good – between the staccato vocals, inching electro pulse and persistent rhythm he finds a completely cohesive whole, circling alluringly throughout.
[7]

Katherine St Asaph: The strings and crackly synth row so well together into the distance, it almost doesn’t matter what Yandel does above them.
[6]