The Singles Jukebox

A trip to Nova Lisboa…

[Video][Website]
[6.50]

William John: Mired in the quiet of a storm of lovelorn desperation, Dino d’Santiago gives a subtle performance that masks melodrama with seduction. It’s the perfect complement to a hypnotic, irresistible groove.
[8]

Jacob Sujin Kuppermann: A track with a groove as chill as this is always at risk of stagnating as mere background music, but Dino d’Santiago manages to avert such a fate. He throws in enough interesting instrumental touches, mostly in the form of some beautifully clean jazz guitar lines and synth tones, to make it work. A miraculously non-hackneyed reference to Beyoncé and Jay-Z manages to seal “Como Seria” in the memory, a refreshing groove that never bores.
[8]

Katherine St Asaph: More lush an instrumental than normally found on your typical stretch of chill, though it could use more time and space — particularly on the bridge — to unfurl more.
[6]

Will Adams: The arrangement is less of a fleshed-out structure than it is an assemblage of intricately placed ornaments: muted guitar lines, synth chimes, various percussion popping in. While this leaves space for Dino d’Santiago to really shine, by the end it doesn’t quite feel like we’ve gone far enough.
[6]

David Moore: The arrangement and production are lovely, a little city of sandcastles, maybe, but the vocal is just this side of recessive and the song doesn’t so much settle into itself as stall out by the end.
[6]

Alfred Soto: d’Santiago requests the blessing of Beyoncé and Jay-Z for this valentine, whose rhythmic base percolates just enough.
[6]

Scott Mildenhall: In what way are they like Beyoncé and Jay-Z? It’s hard to deduce too much, because “Como Seria” gives little away, unmoving if not content with insistent thoughts circling. It’s at once relaxed and perturbed, and that gentle friction works.
[7]

Tobi Tella: A nice, chill slow jam from Portugal that while boasting nice production and a fairly solid Beyoncé and Jay-Z reference, doesn’t really go anywhere.
[5]