The Singles Jukebox

Alfred Soto: Never mind their Outkast-bating artwork: they’ve got Killer Mike’s production down pat. Their call and response is confident and casual. Points off for “fuckin’ haters” though.
[6]

Iain Mew: The loveliest vintage synth washes heard around these parts since Neon Indian prove to be surprisingly compatible with a call of “fuckin’ haters!” Thank the fun and flexible rapping that splits the difference.
[7]

Crystal Leww: The monotony is suddenly halted with a “fucking haters!” about 2/3 of the way through the song, but then it returns to a pretty consistent buzz of rappers with serviceable flows. Everything sounds…fine. This is a fine mixtape track, but yeah, just that.
[5]

Will Adams: The beat sports an ample low-end that can handle the sing-raps laid over it, but the rest of it is so unremarkable — the synth lines, especially that arpeggiated one, feel grade-school and functionless. I mostly felt cheated that the distorted drums that open “La Trilla” vanish after four bars, only to return in flashes. As for the rapping: I could take it or leave it.
[6]

Daniel Montesinos-Donaghy: So, this jams. There is some of great Alabama duo G-Side’s open ear to the potentially corny/cutesy synthpop here, as well as their gift of layering over just enough of the spacebound haze that certain Internet factions go wild. And yet the singsong deliveries and pop-rap hookiness of “La Trilla” show artists playfully at ease with their music — more the success of savvy craftwork than swag.
[8]

Brad Shoup: Don’t want to imply second-class status here, but I could totally hear this on The Beat 102.3, at least before it completely sold out. Every once in a while, we’d get a killer, laid-back Spanish-language track from a rappa/sanga combo. Here, the singing and rapping are coming from the same place, and they’re both riding a gauzy, synth-spangled beat. The synths shimmer like the aftermath of cymbals and whine like fireworks. The dip to the lower register makes this a complete tune, rather than a particularly canny (yet attractive) pop move.
[8]

Zach Lyon: It’s got the undeniable stamp of a rapper that shouldn’t be singing, which is always charming except sometimes when Drake does it. And there are probably a zillion American indiepop references to be made for these specific synth currents, and it’s not like some form of them hasn’t been used in rap and R&B every damn day for the past three years, but they sound perfect here. Like forget-everything-you-know-it-doesn’t-matter-anymore perfect. About as successful a reappropriation job there is.
[8]