The Singles Jukebox

Spanish R&B act returns to the Jukebox three years after her Amnesty Week debut…

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Juana Giaimo: “Rutas Circulares” doesn’t detach a lot from βeta‘s polished and glacial synthpop, except that it isn’t as straightforward. Her voice is more quieter and its charm relies on the delicate melody games — the way it speeds up and immediately next smoothly lingers on a same note. Unfortunately, the experimental outro and the instrumental bridge doesn’t add a lot to the song, but this is still exquisite pop. 
[7]

Iain Mew: The sonic palette is immediately appealing, ice blocks sliding around and crackling while BFlecha glides frictionlessly through it all. She stops short of doing anything surprising to progress that over the course of the song, but it’s an enjoyable scene.
[6]

Jonathan Bradley: Bflecha’s R&B arrives through the wrong end of the telescope, miniaturized and flung off into the distance. The swirls and percussive patters of “Rutas Circulares” will be familiar if you’ve heard any of her previous singles, but the songwriting isn’t as tight; no melody here pulls the pieces together to make sense of their odd orientations. An outro that refracts “It’s Not Right But It’s Okay” doesn’t end the song so much as allow it to leach away.
[6]

Anjy Ou: Never heard BFlecha before, but I feel like I’ve heard this song before — in a good way. It merges the best of early 2000s R&B and current electronic music (specifically, Darkchild and Neon Bunny) in a way that feels familiar and yet completely new. Call it nostalgia, but I could listen to this stuff all day, all week, all year.
[8]

Alfred Soto: The uncanny vocal resemblance to Ciara is not a roundabout: I liked this track without trying.
[6]

Katherine St Asaph: A deliriously inventive bridge attached to the same R&B confection you’ve consumed 5000 times this decade. This particular iteration did make me wonder when some alt-R&B producer is gonna sample Surfacing, so points for that.
[6]

Micha Cavaseno: For all the more left-field flourishes and how nice it is to hear a Spanish producer/vocalist work with styles the West are pioneering and refine them into something unique (that weird beatless noise breakdown section is certainly nothing to take lightly in standing out), its a bit disappointing to hear something that will be interpreted as advanced that sounds like any SoundCloud pop-R&B act doing lullabies over soft-palate synths and trap-lifted 808 snare/hi-hat combos. Its often tiresome enough that we have to really dig through to get to the real gems in this digital amorphous flush of music in a dominant “mainstream,” but to know the fringes are getting eaten up by this rise of benign lack of drive is a real shame.
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