Inna fends off critique through the power of cloning…
[Video][Website]
[4.62]
Daniel Montesinos-Donaghy: Inna, global-minded international advocate of Romanian pop, is depressingly desireless, all want want want and no give give give, sex and lust turned transactional. You want to ask, what drives Inna? “All I want is you.” What defines her from decades of Eurobosh? “All I want is you.” Why a handy co-opting of reggaeton stars and not their genre? “All I want is you.” Whatever does Inna want to inspire with her music? “Ringaringaringaringaring!” Okay, she literally just started making sense. Meanwhile: Yandel, lost on the vastness of the dancefloor, caws for Wisin like Mother Crow locating its nestling.
[5]
Iain Mew: “In Your Eyes” provides pleasingly chunky electropop, but it never comes close to living up to its opening lines. In just eight words, “I want your body/Won’t leave without it”, Inna switches from lust to sounding like she intends to drag away a corpse, in a way that’s all the more striking for how straightforwardly she sings it. I would love to hear an “In Your Eyes” that went somewhere with that idea rather than into fire/desire.
[6]
Anthony Easton: I am not convinced that she wants my body, or that it is getting hotter, or — with the lack of modulation — the beat is getting louder, or that she wants much of anything. The pop song is supposed to convince; this fails at its essential task. Minus one point for the “ooh la la”s.
[2]
Scott Mildenhall: Sorry for the image, but remember when J.Lo was “sick on the floor”? Inna and Yandel have put some grit down on it. She’s had some brilliant moments as the international face of Romanian pop, but most of those were aided by Play & Win; their replacements here, Ina Wroldsen and Steve Mac, have an unfortunate knack for the beige. Looking at their previous co-credits it’s not unfeasible that this was originally written for the Saturdays in 2011, soon after “On The Floor”. Even if it wasn’t, “Saturdays album track” rings true.
[5]
Brad Shoup: In which Ylvis proves startlingly complementary. This is without sex, but the “thousand shades of blue” bit is fantastically high-flown, and the synth programming even ends up becoming a hooky gulp. I’m betting on the chorus staying close awhile.
[6]
Crystal Leww: This is so devoid of identifiable markers that tell us who Inna is, what she’s trying to project. That’s fine! Not all pop stars have to rely on personality. This is so slick how it pulls off an endless array of pop music tropes, how it’s so fun that I’m willing to just have fun with it. It’s not the track to change your life, but ain’t nothing wrong with shininess.
[5]
Will Adams: There’s an intriguing assertiveness behind the “I want your body” hook, but it’s sacrificed for the central conceit of Inna “dancing in your eyes.” Meanwhile, Yandel is completely unintelligible. Overall, it’s a lyrical mess, which would be par for the course for a standard Europop number like this, but the vanilla production can’t elevate it.
[5]
Alfred Soto: Eurotrash arrangement — dig the fourth-rate Kylie mimicry — anchored to an onomatopoetic hook of unrepentant grossness.
[3]