Not Spain’s Eurovision entry. Should it be?

[Video][Website]
[6.62]

Alfred Soto: Haunted-voice indie with synths and effects that would have set the disco alight in 2002. In other words, it defines not terrible.
[5]

Iain Mew: Bashful indie of what apparently isn’t that British a persuasion after all, brought to life by foregrounding a creaky synth sound that I could happily listen to for hours. Once they eventually cut loose that and the guitar feedback to make noisy circles together, it’s sublime.
[8]

Andrew Casillas: The keyboard line gets dangerously close to becoming dull, but there’s enough window dressing throughout the song to sustain the exuberance. This song is what a whirlpool would sound like if it had a drumbeat and a hook.
[8]

Katherine St Asaph: It’s unfair to Pegasvs to listen to them right after Chromatics’ fantastic album, which does this same thing better; “El Final de la Noche” could be the chintzy indie-game version of that, where three (curiously speedy) Drives in, you unlock the plugin that morphs your mumbling into a Ruth Radelet approximation. The final third is where the developer missed a bug that sends the landscape into an infinite craggy loop.
[6]

Anthony Easton: In those Euro sub-Godard films that was porn but thought it was art — you know the ones made in the 70s — with the stock sped up, and showing abstract images of traffic as an example of the ennui and isolation of every day life, were made kitsch and ironic in the late 90s, where even the idea of decadence and ennui was considered wry and unfashionable. I didn’t think i would live long enough where the ironist reworking of ennui-laden decadence would be reconstucted as po-faced earnestness.
[6]

Brad Shoup: This probably repeated about five times before I realized what was happening. Unassuming and quite pleasant: I think that’s a compliment. But I mostly enjoyed the strangled guitar solo that rubs grit all over the organ line.
[6]

Josh Langhoff: Having driven home in a dangerous stupor from my share of overnight shifts, I’m guessing this would’ve sounded pretty great, its instrumental freakouts strangled enough to seem brilliant and loud enough to wake me at intersections.
[7]

Jonathan Bogart: This might be a touch too active to be considered ch*llw*v*; or are we done with that, and just calling it synthpop again?
[7]