The Singles Jukebox

We, um, return to this Argentinian singer…

[Video][Website]
[6.12]

Alfred Soto: Another Patagonian singer with a penchant for synthetic percussion tricks and gurgles for the sake of a clever conceit. “Boomerang” is closer to an album track than a single, though; it doesn’t return to slap me in the face.
[6]

Josh Langhoff: An elaborate giganto-pop mashup of skittering trap beats, Mustardcore “hey!”s, the string hits from a Bad Boys movie climax, and a chorus of Lalis, none of whom manage to create any interesting high harmony parts. The whole thing works anyway. Somewhere in there lies a simple invocation of karma, giving shape to the whole mess like a magnet covered in debris.
[6]

Juana Giaimo: The previous time we covered Lali, I defined her as the filler of a blank space in a country where national mainstream pop is generally undervalued or, actually, almost unexistent. However, all of us who have critized her, who filled their TV shows talking badly about her and who didn’t trust in her project are being kicked back by our own boomerang. Because this time Lali is truly embracing her position in the scene. She is self-confident without feeling the need to show off her skills as in “Único,” and, instead, she is in full control of the different intensities of her voice and melodies over a steady patterned background. She immediately catches your attention with that powerful beginning, but her pleading tone in the chorus portrays her as a victim while she can also be ironically playful in the prechorus. It’s probably here where the most important line of the song is delivered: “Everything about me breaks your conscience; everything about you made me lose my innocence”. Indeed, she can also keep a rational and moral tone in the verses, but is it me or does she suddenly sound so much serious than last year? 
[8]

Tim de Reuse: I should say that the main melody based entirely on an orchestral sting sample and the unrelenting faint sixteenth-note ticking in the background are several flavors of obnoxious. I was not prepared for how fantastically sing-song catchy the track ends up after a few listens, and how well-rounded the production is despite its questionable sound design decisions. Built around such a well-developed, well-delivered earworm, the whole package seems less “garish” and more “confident,” you know?
[8]

Ryo Miyauchi: Lali doesn’t change the script on her anti-haters pop. She holds her head high above the shit talk and sings a hands-up type of chorus to channel strengths to others feeling the same. That stomping brass, though, really makes the record feel indestructible as Lali’s trying to make herself out to be.
[6]

Edward Okulicz: The string hits draw a little blood, but the chorus feels perfunctory, like Lali’s retreating despite being the one who’s armed.
[5]

Jonathan Bradley: A great deal of pomp ushers Lali into this chorus, but when she arrives, the effect is deflating. Not even the laser-lit middle eight is able to release the weights tugging this song down.
[4]

Will Adams: Like if “We Can’t Stop” actually had enough fight to go all night, or at least gave a shit.
[6]