The Singles Jukebox

In March we pine for summer.

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Juana Giaimo: Ulises Hadjis was right in choosing Gepe and his melodious voice as a collaborator, but he should have let him sing the whole song. Instead, Hadjis sounds as if he was suffering while singing — reminding me of Alejandro Sanz — when this song is about watching the movement of the little things of life and forgetting the chaos of the world.
[6]

Brad Shoup: A lazy river of a pop song, paddled by the bass, glistening like the noon sun. It’s a bit too much brightness, but we’re not quite to summer yet here.
[6]

Cassy Gress: Some songs take me on a ride, some songs embody a feeling or place. This is a beach: it flows but plays with measures and phrasing; the percussion clicks and glistens and buoys the guitars. It won’t dazzle: it quietly envelopes me in sunshine and warmth.
[8]

Jonathan Bogart: Feather-light collaboration between one of the leading lights of Chile’s indie-pop renaissance and a Venezuelan counterpart I’ve never been terribly impressed with. A pleasant enough diversion, but I’d rather we were covering Gepe’s new single instead.
[6]

Patrick St. Michel: An easygoing number that makes me wish summer would get here already, in no rush to get anywhere but that’s also its most charming point.
[5]

Alfred Soto: Thanks to the undulating rhythm bed and sparkling high life guitars, this tune by the Venezuelan singer sounds closer to King Sunny Ade than contemporary Latin pop. Usually songs named after what they’re supposed to do disappoint.
[7]

Iain Mew: The burbling synth and gentle guitar notes of the bridge feel like taking a moment to be struck by quiet wonder that has been around you all along if you knew where to look — even if the rest of the song feels like set-up.
[6]