Thursday, February 6th, 2020

Rosalía – Juro Que

Unless you’re measuring in time post-Grammys…


Kalani Leblanc: The sleek and slithering “Malamente” shot Rosalía’s career out of a cannon in 2018, and she’s kept herself in flight with “Con Altura.” I’ve seen her embraced by Hispanic teens–myself included–for updating the Spanish music our families play. Rosalía’s music never compromises intellect, but simultaneously isn’t pretentious. Everything in her catalog is listenable and accessible, even this snippet of a flamenco track–but wasn’t flamenco always listenable? Praises of Rosalía often become a “Show how little you know about Latin music” fest, and her cool factor plays a big role in her perception and acceptance outside of Spain. If she wasn’t covered in Gucci–referenced in this song–and surrounded by trendy production visuals, would people even give her the time of day? (My first introduction to her was a Grimes tweet [lol], where she praised the production of “Malamente”‘s video.) Rosalía offers more than that. “Juro Que” showcases Rosalia’s best qualities, her range and individuality; her belting makes the autotune work like a wall she’s punching through. If someone else were to do autotuned flamenco, could they do it like her?

Camille Nibungco: As the unofficial figurehead for flamenco-pop, Rosalía can drop anything and it’ll be an instant hit and accessible entry point to those unfamiliar with the genre. At first listen, “Juro Que” is an incredibly simple song, relying almost completely on her powerful vocal aptitude and a cacophony of Spanish ad-libs. Without the R&B flavors that initially drew me to her, it’s a tad cut and dry.

Brad Shoup: Reverb leaking into the hall, guitars turning electric with a turn of the wrist, and an Altmanesque explosion of voices at the end. It’s like watching a magic act.

Will Rivitz: The slick production tricks — brief bouts of pummeling bass, icy reverb, and wickedly sharp Auto-Tune — actually work against “Juro Que,” teasing the sort of huge hybrid trap climax that makes Rosalía so essential but pulling back every time. The song is all intro and no drop, and I’m still stuck enough on my EDM that that’s an issue.

Alex Clifton: So much is happening here, and it all FITS. The flamenco base is gorgeous and makes sense given Rosalía’s roots, but of course it’s never quite as straightforward as it initially comes across. The production gets beautifully wonky midway through with some autotune, fuzz, and layered voices. It’s really something to behold.

Michael Hong: Rosalía’s string of singles last year ranged from fine to good to great. But I’d be lying if I said I didn’t miss when the clickety-clack was at the forefront of her music rather than drowned out in the background, and damn if “Juro Que” doesn’t deliver.

Thomas Inskeep: There’s a direct lineage from Björk to M.I.A. to Rosalía, female pop stars whose pop is as global as their stardom, making music that’s as unique as it’s become universal. The way that Rosalía combines traditional flamenco music (those handclaps!) with trap beats and autotune is genuinely original and originally genuine. She sounds like no one else, and much like most of her catalog, “Juro Que” sounds like nothing else, either. 

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