The Singles Jukebox

Don’t be surprised if chocolate salmon becomes the next culinary sensation…

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[6.62]Edward Okulicz: A revival of the followers of Italo house’s revival! Or those people’s followers, at any rate. K-Klass! Pet Shop Boys! Killer beat, so-so song on top of it, but with this sound the former matters a lot more than the latter.
[7]

Will Rivitz: The instrumental could make for a great track with different vocals, and the vocals could make for a great track with a different instrumental, but unfortunately the two don’t jibe very well. Dance parties are great, as are shout-along summer anthems, but mixing the two is kind of equivalent to pouring melted chocolate on salmon.
[5]

Alfred Soto: An excellent thumper, with hints of “It’s a Sin” and a hundred minor Italo disco hits flowing through its corpuscles.
[7]

Will Adams: The sparkly, Richard X-esque production hits first, but the chorus, with syllables stretched into hooks (“ha-ha-amadooo”), is what keeps you in.
[7]

Natasha Genet Avery: “El Fondo del Barro” starts off as a no-nonsense dance tune, with a four on the floor kick drum, dorky synth horns, and an endlessly catchy verse melody (“amadooo/barriooo/rechazadoooo”). It’s a pity Denver chooses to rest on its laurels from the hook onwards, and, rather than reaching for a climax, rides the wave for a minute too long.
[5]

Juana Giaimo: I like to think of Dënver’s songs as stories with only two characters: him and her. She is confident and sensual, but also sweet and clever. Instead, he can only repeat, “I don’t know what it is to be loved.” Milton’s voice was never as strong, but it is founded in pain and desperation. The dance music and Mariana’s mechanical vocals start turning him crazy, reminding him of parties he was never part of. If in “Mai Love” they turned a typical romantic movie scene into sinful pleasure, in “El Fondo del Barro” they come back to another recurring theme: the nice guy. But Milton isn’t just rejected, he comes up with the darkest and strangest lyrics, like “the hell that was my room is still immaculate.” As the title points out, he is indeed at the bottom of the mud, forgotten and stomped on by everyone, because if Dënver chose the nice guy, believe me that they are going to make him the most utterly miserable guy.
[9]

Ryo Miyauchi: Imagine hearing this glorious beat from a party afar — that warm organ, the strings that drip with sweat — and forced out to join the dance. Ten thousand times, they were rejected, and Denver builds their own club after being so fed up. I hear the bold opening line not as a lyric of loss but a statement from someone learning how to pick up the pieces. And the chorus sounds like they’re adjusting the fit of a badge, a symbol of pride that shows where they came from.
[7]

Katherine St Asaph: Threatens or promises to turn into “Hot Stuff,” but never quite makes it past mild heat.
[6]