From the Dominican Republic, another bachata crooner…
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[4.00]
Iain Mew: The silvery bit of guitar jangle that kicks in occasionally is lovely. It sounds even more effortless next to the rest of “Quiero,” EliaCim’s vocals a leaden weight on top of an already slow moving song.
[3]
Daniel Montesinos-Donaghy: A time-tested formula, carried out to a T: sweetly plucked guitars, honeyed vocals, eyes crossing the room, pulses slowly heightening, last-ditch attempts at romance, at retrieval, the conclusion fading way, to be continued… et cetera. Misty-eyed, mush-hearted, mince-brained.
[4]
Patrick St. Michel: I’m usually hitting the pause button come the first chorus on acoustic-guitar-driven songs like this, the stuff goopy movie soundtracks are made of. But EliaCim’s voice pulls me along, even if the music around him is a snooze. He never oversells the song, even when the strings come in. It is wonderfully restrained, and he has the voice to make this all work.
[6]
Anthony Easton: The percussion here is beautiful, almost distracting enough to ignore the vocals, which are creamy, sticky, and a little difficult to fully absorb without tooth ache.
[4]
Jonathan Bogart: He sure does have a pretty voice.
[3]
Juana Giaimo: I was enjoying this song until I heard “it’s ironic to think that what I miss most is what most annoyed me about you.” This led me to ask myself: what kind of love song is this? And I didn’t need to think long to answer: it’s the kind of song we’ll make fun in about ten years. Maybe only five.
[5]
Brad Shoup: Tremulous, wordy, unable to fulfill the setup of the processional string intro. Will slay — and probably has slayed — at dances, though. Just elide the particularly forceful verb choices.
[4]
Edward Okulicz: EliaClim’s voice is lovely and he can do sweet, which is nice for him, because this song gives him a whole big batch of sweet to do. I like the soft-rock-AOR guitars that pop up intermittently, and the percussion that pops out, but the song’s far too wet to enjoy as a whole.
[3]