The Singles Jukebox

What are we doing today? Casting our votes… on pop singles, of course!

[Video]
[6.12]

Dave Moore: Perplexed that this passable modal-rap-ish mush from Puerto Rico is breaking through at a time of seemingly inexhaustible vibrancy in Latin American pop — I thought we’d turned the page on these sluggish tempos and go-nowhere circular hooks from pre-pandemic times.
[5]

Jel Bugle: I like the yearning dissonance: it’s quite industrial. Loved the froggy vocal effect and the little coda. A bubbling lost machine, singing its sad song for an uncaring, harsh, desolate universe. 
[8]

Mark Sinker: More songs about fucking and cars. So it glides along, soothingly lovely in texture, De la Rose the aptest foil — a little petulant, a little breathy-gulpy — for Omar’s relaxed brag, except Yaviah’s brief irruption as processed engine-purr is apter still. 
[8]

Jacob Sujin Kuppermann: It’s mostly a clip show, but a fun one at that — the first time I heard the Akon interpolation came in, I felt like applauding in my living room. To do this kind of thing well requires a certain lack of shame, and the two of them clear that bar easily. 
[6]

Alfred Soto: I like the details: he hopes she likes the hoop earrings he bought her at Walgreens. But the track’s as fussily arranged as early ’80s Elvis Costello: trap beat, oceanic synth patches, distortions.
[6]

Nortey Dowuona: De la Rose is a deeply relaxing presence, and you lean into the vibe of the track once she enters. Omar Courtz is stiff and abrupt, forcing you to be miffed by his elbowing presence that his moments of melody do nothing to soften. Bassy does allow De la Rose a brief reprise to exit the song. Somebody must have realized the glaring failures of the lead artist — maybe himself?
[5]

Katherine St. Asaph: Confession: Halfway through listening to this, I loaded up Balatro. (Draw your own conclusions about the song’s excitingness and/or my attention span.) Hearing the soundtrack autoplay underneath this and not not work, I realized the problem: this song wants to be slower, more chopped and screwed and drifty. It’s what fucking Drake, the template for this and so much like it, would do; in that (and only that) they should emulate him.
[5]

Ian Mathers: There’s a bit about two and a half minutes in where this kind of robot/processed voice chants in the background for a bit, and it’s the only thing distinctive about this song. Other than that it’s just vibes — perfectly fine ones, but ones you can get in dozens of other songs.
[6]