Bit late for a bid at novelty hit of the summer, isn’t it?
[Video][Website]
[6.12]
Iain Mew: I’m all in favour of more dance tunes with blasts of trumpet, but the unsung hero here is actually the piano loop that clomps backwards and forwards, never resolving and lending a sense of irresistable forward momentum no matter how sparse and laidback everything else gets at points.
[7]
Jonathan Bogart: Yeah, okay, I’m a dead sucker for British dance music with fake-Latin garnishings. But I’ve been trying to find a Romance language in which the first syllable of “musica” (or música) is a dipthong. I don’t think there is one. Fuck y’all ignorant-ass monolinguals.
[8]
Alfred Soto: The percussion programming and piano get me, but the performers sound so damn canned. A genteel smolder is all this thing generates.
[3]
B Michael Payne: I didn’t nearly expect to like this song as much as I did. On the one hand, maybe I should have expected it since I quite enjoy the trumpet. On the other hand, I do kind of dislike what I think of as generically-ethnic’d music. With the song’s — I suppose it wants to be described as — “sultry” tone, and the refrain of “la musica” and mention of mojitos, it has a kind of icky, pandering, let’s-set-this-film-in-Cuba vibe to it. As if a night out dancing just has to include some “latin fire” or something. In the end, though, I’m probably just projecting some amount of racial unsettledness, and it is a catchy song.
[7]
Katherine St Asaph: Somewhere around “it tastes like a mojito,” the purpose of this track became clear: fodder for the Latin night playlists of cruise ships’ nightclubs, vaguely tropical to set an undiscerning mood, but tepid enough not to corrupt the kids. Excerpt the “oozes class” and “sassy Latino style vocal” from the YouTube description, and you’ve got your entry on the itinerary.
[3]
Anthony Easton: Sounds like something that a bored cruise director would tell the instructor to play for a class of 60 year olds to salsa with — because it’s both “hip” and safe. Oh so very safe.
[5]
Brad Shoup: Usually I run from music-as-metaphor (unless it’s done by Michelle Branch), but Lovelle dashes through the text so quickly she becomes a quickening rhythmic element in Foxx’s tangential tango. Could do without the yiffing, though.
[8]
Alex Ostroff: Not sure if the vocals are even necessary — I could listen to “La Musica” for hours at a time. The piano and drum loop in an endless groove, with the sporadic bursts of trumpet peeking through the rhythm like rays of sunlight. It’s classy enough to soundtrack a cocktail party and moves enough to drop into a DJ set. It evokes memories of 90’s dance records like Adam F’s Colours without sounding anything like them. This is wonderful.
[8]