Thalía ft. Maluma – Desde Esa Noche
And we close out our Monday with cumbia…
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[6.50]
Juana Giaimo: Old-fashioned cumbia songs are underrated. Accordions and mariachi-like trumpets makes “Desde Esa Noche” a fun and warm song.Thalía’s fast-singing benefits her more than the Auto-Tune, while Maluma’s melodious voice joins her well. The music as well as the lyric theme — being afraid of unrequited love — contrasts with the sharp tone of clubs’ music. Maybe it’s just nostalgia, but I simply missed songs like this on the radio.
[7]
Ryo Miyauchi: Maluma might think this duet is an equally leveled game, but he’s really playing catch up to Thalía, who runs circles around her guest. From her subtle break into Auto-Tune to switch-up to a fuller, more staccato flow, she teases out parts I wish she could dedicate for its own entire section, only for her to instead give the space to Maluma. He gets a verse of his own, but by then I’m just waiting for Thalía to return.
[6]
Edward Okulicz: I’m digging how the sentimental horns have their intent completely mauled by the galloping reggaetón beat. Less to how Maluma basically gets mauled by Thalía. If this is a trend I’ve been heretofore unaware of, I’d like a duet a bit more evenly matched, but it’s still a rousing combination.
[7]
Jonathan Bradley: The track is Thalía’s: the horns and accordion trills emanate as if she had breathed them into existence. Maluma wanders, less sure of himself. If he feels something, he doesn’t feel it like Thalía does. This night is hers; she might have well made it.
[6]
Jonathan Bogart: Thalía’s held up better than most of her peers over the past thirty years because she’s essentially hollow, a vehicle for whatever the current trends of the moment are, so she’s never out of fashion even as she’s never been in advance of it. Reggaetón being ready for a Thalía crossover might be the cruelest thing you could say about it in 2016, that it’s completely lost whatever urban edge it might have had in the early 2000s and is as Zumba-bland as any other tropical rhythm. But it’s pretty-boy Maluma who proves the lightweight here; Thalía will outlast him just like she’s outlasted all the other pretty boys she’s dueted with, and left their carcasses in her wake.
[6]
Alfred Soto: To the accompaniment of timbales, accordion, and a yearning trumpet, the couple pledges their troth, and unlike duets in a similar vein they sound like they’re in the same room, eyeing each other across their cocktails, remembering last night, and saying fuck it as they join on the dance floor.
[7]
Reader average: [6] (2 votes)