Frank Kogan

I don't know why I was treating "Norwegian" like it was a region encompassing multiple countries. I'll have to remember to use "European" from now on, or find out exactly what nation they hail from.

The rhythm of the arrangement in "Cinderella\Complex" is quarter-notes and sixteenths/eighths,(the reggaton rhythm is, using the one-e-and-a sixteenths speaking notation, "one-a-two-and") but the vocal melody is almost entirely triplets.
The exceptions are the "nanananana" hook, which using the one-la-li triplet speaking notation, is "one-and-two-la-li-three," and various parts where if the melody is crossing between beats using pick-up notes, or using only the first two notes of the triplet, (or both, as in the last pre-chorus line) sometimes the rhythm is crushed from triplets to sixteenths.
I've never heard this songwriter do a fully-triplets song. He always ends up juxtaposing them against sixteenths or eighths,(especially in the arrangement) using the triplets as a source of syncopation, where the likes of "Womanizer" are fully committed to only triplets.

"Sweet Dreams My LA Ex" is fully triplets, but isn't as tied to the down beat as "Chocolate Love." "Chocolate Love" also has some pick-up notes, but has more emphasis on the long notes starting on the down beat.