We’re in pretty solid agreement on this one…
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[6.14]
Tim de Reuse: Peluso’s enunciation walks a very fine line between “fascinating” and “physically painful”; her stilted, arrhythmic flow is enthralling, and her stretchy, exaggerated delivery of the refrain “Este es mi jazz Latino” is a lot of fun, but the mix turns every clicking consonant into a sharp little blade against the eardrums.
[6]
Alfred Soto: The raps are awkward, but the backing track is interesting — sustained organ chords, dust-covered drum programs — and the timbre of Nathy Peluso suggests an art-damaged Amy Winehouse.
[6]
Juana Giaimo: Maybe the reason why “La Sandunguera” is weaker than Nathy Peluso’s previous singles is because it lacks some control in her voice. We all like when she raps loud and in an exaggerated way, but it loses some power when she does it three minutes straight.
[6]
Jonathan Bradley: The sleepy lurch of the hook robs “La Sandunguera” of a bit of its momentum, but the verses simmer ominously: Peluso’s precise enunciation and nasal raps make better use of the track’s crawling pace. She portions out her consonants — the plosive ps and cs, which rattle against the airier r sounds in a couplet like “A mí nunca con nada me podrás comprar/Acá te espero sólo si querés ayudar” — in a tight tensile rhythm, adding to the sense that the energy here is being contained only through great effort.
[7]
Ryo Miyauchi: In the time of detached monotone and triple-time flow, Nathy Peluso’s careful, overly enunciated delivery runs counter to the pop norm. She’s dedicated to her said cadence to the point it’s on the brink of becoming a sore listen at any minute. Thankfully, she’s got the content to justify such an in-your-face presentation. It’s hard to ask for a better introduction that gets down to the roots of who Peluso really is.
[6]
Leah Isobel: I love how heavily Peluso leans into her vibrato, and when she layers her voice the effect is beguiling. She gives the song a ragged, weary charm. The semi-rapping on the verses toes the line between fun and irritating, but the chorus hits like a burst of sun-bright energy every time it comes back around.
[6]
Micha Cavaseno: One part parodical, one part boastfully irritating; “La Sandunguera” is reminiscent of sing-rap pop backhands à la Blu Cantrell and its produced in a similar manner, but Peluso’s working to convey a general DGAF attitude that could be a flag waving or a jeer. It’s hard to detect the intentions behind the attitude, but there’s enough to spare here.
[6]