Arcángel - Sentimiento, Elegancia & Maldad

Sentimiento, Elegancia & Maldad, Arcángel
Pina Records, Puerto Rico
Rating: 85 
by Carlos Reyes

As cleverly stated by reggaeton scholar Raquel Z. Rivera, “folks have been pronouncing reggaeton dead since before it was even called reggaeton.” I don’t know about you guys, but there’s not a day where I don’t encounter the beat, even in the most unexpected places. It’s far from dead, but the slightest immersion makes it hard to be optimistic about the genre’s possible pedigree, at least from an artistic viewpoint. Names like Daddy Yankee and Plan B have offered the genre enough powerful singles to maintain a degree of creative momentum, but the genre is undergoing a major depression when it comes to pouring self-sustaining full-length albums. As we’ve been predicting throughout the years, Arcángel (Austin Santos) is the one name capable of amending the future of reggaeton.

Arcángel is very well aware of where he’s standing. Arrogance and self-absorption often get the best of him (he self-proclaimed God way before Yeezus did), but I guess stubbornness is something you can afford after crafting the best reggaeton album of all time. La Maravilla (which remains commercially unreleased as a whole) was a one-of-a-kind event unlikely to be matched any time soon. His follow up (considered by the industry as his official debut), El Fenomeno, introduced him to the transnational leagues that unfortunately brought artistic confinement to his rising career. El Fenomeno was a tacky move from his label to recondition La Maravilla (at the hands of producers Luny Tunes) for mass consumption. And yet, the album was considered a commercial flop that made many wonder if Arcángel really was the individual dictating the genre.

Five years have passed and we find Arcángel more popular and consistent than probably any other name in Latin urban music. Well, that’s not necessarily true, but let me make my case. Calle 13’s political activism has nations sending delegates to the duo’s press conferences, and that’s something no one should overlook. But, while Calle 13 used the reggaeton beat as a platform (with glorious artistic and commercial results), they’ve now made every effort at their hands to disassociate from it by turning up the alternative, and subverting the urban. Arcángel on the other hand, remains loyal and affectionate to the genre. While Rene and Eduardo have turned their music into a social mission, Arcángel has kept his focus on transcending reggaeton beyond the beat. He refuses to reduce reggaeton to that essential beat, but rather presents it as set of conceptions (hooks, flow, tiraera, melodic bridges, etc.) that are tailored with a sensibility that is particular to reggaeton. In other words, what he’s bringing to the table is an assessment of the genre as something worthy of its own idiosyncratic narrative.

Three paragraphs in, and I have yet to bring up the reason behind the excitement. Arcángel just released the best reggaeton album since, well… La Maravilla. It’s nowhere near flawless, but it had been a while since an album of the eternally-controversial genre felt this complete. At 18 tracks long, Sentimiento, Elegancia & Maldad is not an easy album to dissect despite the fact that it holds some of the catchiest, funniest, and most hybridized songs released this year. I have single-handedly reviewed every release by Arcángel. It’s not that my fellow Fonograma writers neglect him (we placed “Chica Virtual” in the top 15 songs of the past decade), but I’ve used my editorial perks to become a sort of specialist/scholar on his profile. SE&M’s first single, “Hace Mucho Tiempo,” is better than 95% of the hits on FM airwaves, but in no way did it convey how good SE&M ended up being.

Immersing into SE&M is uncomfortable at first. In its mere aesthetic presentation, the album is problematic and off-putting. The album cover shows a topless model on top of the artist. She’s been branded with Arcángel's logo on her back. It’s a bit frustrating to see someone who is a bit of a genius not realize he’s taking part of what has wounded the reggaeton pedigree above anything else: its artistic prostitution. The cover isn’t as evil as R.Kelly’s latest one, but it sure is disappointing considering how progressive and androgynous most of the songs on the album are. Arcángel is more incongruent than a misogynist in that regard, but I’m sure deducting him points for not being able to filter the degrading parts of the genre he’s claiming to reform.

“Aún recuerdo mis tiempos de bandolero / cambie el flow / y sigo estando entre los primeros,” brags Arcángel in the M.I.A.-esque “Por la plata baila el mono,” just before humbly reminding us he is the King Kong of reggaeton. SE&M is not set up to revolutionize the genre in the way his debut endeavored. Arcángel instead, puts on a historian outfit and makes an index of sorts of when the genre started (the hypersexualized and bared-to-essentials “Que Le Den”), its absorption by the mainstream (“Sola” featuring ex-partner De La Ghetto), the moment it became a monopolized mafia (“Pacas de 100,” featuring Daddy Yankee), and its subsequent, sugar-coated dissolving with synth pop (“Tiene un piquete”). This historical reading of the album was most probably not intentional (the sequencing is nonlinear), but considering Arcángel's artistic escapades (highly celebrated by people like Tego Calderón and Rita Indiana), it’s consistent to conclude that Arcángel was conscious the genre needed this assessment more than another “Gasolina.”

But what makes SE&M so special is how Arcángel envisions the future of the genre: reggaeton transcending from a beat to an increasingly versatile genre. Perhaps it’s too much of an assumption, but it seems that Arcángel has bonded with his contemporaries. He encounters Drake in the dazzling “Me Myself & My Money,” swims around Frank Ocean in the melancholic “Cuando Tu No Estas,” gets as mucky and dope as Danny Brown in “Gucci Boys Club,” and croons over the R&B balladry of Miguel in “Lentamente.” While it seems like he’s borrowing, he approaches and executes each with the sensibility and idiosyncrasy of a reggaeton artist (while also holding up to the fact that he is also American). Arcángel proclaims leadership of a new line of artists he calls “La sangre nueva." If Sentimiento, Elegancia & Maldad is able to shift the gears of those subscribed to this new blood (Plan B, Ñengo Flow, among others), while also outlining the genre’s history and cultural impact for the sake of its pedigree, then we can officially consider this a triumph. And that to me is more of a revolution than trying to figure out what the hell “Multi_Viral” is really about.

Tego Calderón - The Original Gallo del País (O.G. El Mixtape)

The Original Gallo del País, Tego Calderón 
Jiggiri Records, Puerto Rico
Rating: 77
by Carlos Reyes

Heavy metal drummer turned rap star legend Tego Calderón should be headlining every music festival in Latin America. Unfortunately, our “cultural” fests aren’t nearly as progressive or diversified as they're made out to be. But enough with the whining. That is the last thing Tego would want us to do. It’s been five long years since El Abayarde Contra-Ataca hit the shelves, and it seems unlikely El Que Sabe, Sabe will see the commercial light this year. Lucky for us, Calderon is a provider, one who has not forgotten his anxious followers. The Original Gallo del País (O.G. El Mixtape) is a transfixing 10-track mixtape that’s restrained of a linear narrative but is more than just an appetizer of what’s to come.

A euphoric rooster scream opens the mixtape at an alarming pace. Calderón’s introspective rhymes quickly blossom into the frame and, when you least expect it, the maverick pours as much multi-dimensional gestures and actions as Breaking Bad’s Walter White. Whether speaking of himself as a devoted family man or a modern “Robin Hood,” El Abayarde reinstates his class as a narrator and storyteller. On his recent appearance as a guest DJ at NPR’s Alt.Latino, Calderón pitched this set of songs as the most sincere of his career. There’s a structural freedom granted by the (often budget-less) mixtape format. Whereas most abuse that freedom, Tego approaches it with his heart on his sleeve. He won’t settle for anything nonchalant, and it shows. Promotional cut “El Sitio” is a boiling political track about the physical similarity of the “suffering face” across the globe. There’s no room for baroque fixing or traditional slanting, this is Calderón confronting the need for a macro-regimented discourse.

Not every track in O.G. El Mixtape is linked to budgets or foreclosures. Catchy track “Hablan de Mi” features Fonograma favorite Arcangel, who once again proves to be a rhythmic prodigy. The promising collaboration is only flawed by the artists’ avoidable need to make a tiraera piece (by now, neither Calderon nor Arcangel should sound as territorial). Closing track “Muralla,” featuring Puya (Puerto Rico’s heavy metal salseros) is a pantheon. Whatever fusion Omar Rodríguez-López and Calle 13 failed to craft in “Calma Pueblo” is accomplished here. The Original Gallo del País still sounds like a mixtape (a great mixtape). It struggles to find cohesion from track to track and has an overall pitchy production, but yet again, this is Calderón at his rawest–less about the goce and more about the mantra.

MP3: Arcángel feat. Daddy Yankee - "Panamiur" (Official Remix)

If you haven’t figured it out by now, if there’s anyone in Reggaeton we really care about is Arcángel. Many still question our fixation with the rising star, but musically, it’s pretty simple to us. Once in a while, he puts out incredible singles; the kind that makes us hopeful for the genre, and the kind that refresh Latin Pop mainstream radio. He released his flawed but transitory Optimus A.R.C.A. mixtape last November, promising to come back this year with an album superior to his excellent La Maravilla. Honestly, we’re not anticipating it as much as The Carter IV, but the fact he realizes he has not given his best work lately is a good sign.



In the meantime, he has started 2011 magnificently, giving us an optimized version of “Panamiur”, the best Reggaeton single in many months. Arcángel and Daddy Yankee are becoming regular collaborators and this remix is burning hot. Both, guys are still sexists, (“Si estas enferma, baby tengo tu cure”) and that’s still a bit irritating (but never as irritating as “Danza Kuduro”). Musically, it doesn’t step away from any of the genre’s elements, but the execution and over-the-top lyricism are enough to discard this as just a guilty pleasure.

♫♫♫ "Panamiur"

Arcángel - OPTIMUS A.R.C.A.

OPTIMUS A.R.C.A, Arcángel
Flow Factory Inc, Puerto Rico
Rating: 64
By Carlos Reyes

On his latest album intro (“Monarca de Los Mares”), Arcángel claims he reincarnated into a human ever since Greek Mythology, and was sent by Poseidon to overtake all the oceans. After such laughable premise I can’t help but admit that I’ve missed Arcangel more than I would care to admit. La Maravilla is arguably, the best Reggaeton album ever; any album by Arcángel should be considered an essential listen. Although he didn’t become a household name with El Fenomeno, he’s still considered being the next (perhaps only hopeful) star of Reggaeton. Arcángel is the kid his peers fear of; he’s outspoken, a master of tiraera & arrogant in his own charming way. Despite his controversial lifestyle (he's been called a drama queen), he’s got the big guys behind, earning the respect and endorsement of Tego Calderon, Daddy Yankee, Tempo, Don Omar and Vico C, who are literally fighting over the godfather title.

La Maravilla was one of those extraordinary events in Latin Urban music, I love telling the story, but I’m afraid all of my Arcángel reviews are exactly the same. But let’s sum it up: angry talented kid idolizes Prince as much as Michael Jackson wants to be like both of them (+ Lil’ Wayne), he is also a good singer (not only a rapper), & he’s got the lyrical skills and willpower to make a name for himself. He released a couple of awesome mixtapes, but labels felt he was more of a threat than an artist; he was in fact, misunderstood. One day he decides to upload his debut album to rapidshare, the link caught fire, to this day; it’s a fundamental record that finally earned him the attention of label executives. El Fenomeno (his first ‘mainstream’ album) could be considered a commercial flop. Austin “Arcángel” Santos is back to the viral stats and his Internet-cult fan base, surprising us with a new set of songs outside commercial purpose.

OPTIMUS A.R.C.A. is nowhere near the complexity of his jaw-dropping debut, as you can see from the album cover and the all-caps title, he goes Michael Bay on this one, not very exciting. What could’ve been a great conceptual album is actually a middling album with a couple of astonishing pieces. Arcángel has a list of concerns he likes to intellectualize. First, he always sings to himself as “El Chamaquito”, it’s as if he was going back in time to cheer himself as a kid, telling things we’ll be alright despite his current challenges. Second, he continues to make sure his woman reaches orgasm; it’s a mission of his, not doing so would be a failure of the alpha-male ‘optimus’ Greek-Robotic being he’s become. Third, consolidating his ego through “Tengo Dinero” or highlighting the fact he can actually sing in “Lo Mio Es Cantar.”

On multiple occasions, Arcángel has claimed he wants to be called a singer-songwriter, which I find hilarious, but hey, “Chica Virtual” is an epic episoide of compositional heaven. This album doesn’t show much lyrical skills, the fact he actually mentions god created his mom specifically to give birth to him shows he’s going desperate. “Mi Voz, Mi Estilo & Mi Flow” or “Panamiur” are proof of an artist who is still rocking on his own way. OPTIMUS A.R.C.A. is clearly flawed, the title itself is a bit annoying to type. But Arcángel claims this is only “the little album before the album”, so as a transitory (for fans only) release it’s worth a listen, plus, it’s free. He's still on the right path, this time he chose Mediafire over Rapidshare, big decision there.

♫♫♫ "Mi Voz, Mi Estilo & Mi Flow"

Download Album

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iDon, Don Omar

iDON, DON OMAR
Machete Music, Puerto Rico **
Rating: 43
By Carlos Reyes

Considering “Virtual Diva” is the best single Don Omar has released since “Pobre Diabla” I couldn’t miss the chance to hear it once it arrived on the mail. Let’s start; the album’s title is an eyebrow raiser, there’s nothing wrong in trying to sound technologically modern and correct, put that’s pushing it too hard. But wait for the description coming out from the label’s press release, “… a half man-half machine creation, a transformation of the international superstar into a cybernetic being.” This is not even pretentious; it’s more of a concept that neglects the tons of people that have done what Don Omar thinks is inventive and a progression to his music. But is reggaeton catching up to electronic vibes? Will the reoccurring beat adapt itself to mechanism? Isn’t already a robotic sound? Daddy Yankee’s surprisingly pleasant Talento de Barrio explored this territory, after the influence of the true urban virtuosos from Puerto Rico, our favorites and still underrated Nejo y Dalmata and the now fully discovered/exploited Arcangel. The intro “The Chosen” is laughable, presents the whole futuristic scenario as a mutation, basically Don Omar babbles about his new characteristics, claiming he is a lot of thing, from a biochemist to a mathematician, and a bionic superstar “en perfeccion en practica.” The first single is his least embarrassing moment on radio in a long time; it’s not even near as functional as Yankee’s “Pose”, but at least it’s mystical enough to dance to it. There’s plenty of clash in “Blue Zone”, but he should learn that a just a few sparks won’t build an attitude, a bit of guidance from Zona Seis and their Electronic Swag would do him great. You don’t even want to listen to “Ciao Bella”, it’s a painful drown, and “Oasis” tests and fails to make its continental voyage. The album trips and although the lyrics have some moments of glory (particularly in “CO2”), iDon is not even honest to its concept. But hey, it’s an improvement over the abominable King of Kings.

El Fenomeno, Arcangel

EL FENOMENO, ARCANGEL
Machete Music, Puerto Rico / Dominican Republic ***1/2
Rating: 75
By Carlos Reyes

I think we saw it coming; Arcangel was for too long succeeding with a brave stance on his urban roots, but always looking up to be a pop star, in his words, always looking up to what Prince embodies. So who is this guy and why do we talk so much about him? Simply, he is the one individual with the virtue to give some progressiveness to reggaeton, a genre we believe in despite all the hate, believe it or not, it’s in its best moment on the hands of Austin Santos. Always criticized for aspiring to be both Lil’ Wayne and Michael Jackson, this guy won the respect of his peers because of his outstanding mixtapes, quickly becoming the one to have on your record, for years expecting a first album. 2008 was supposed to be his year, but the urban genre as a business was not ready for him, his record was said to be too alternative and bipolar to be addressed properly.

Arcangel, in an unexpected move, decides to upload his album on rapidshare for free download (extremely rare with urban artists), after a couple of million downloads (yes, millions) it quickly became the big revelation of the urban circuit. He had the guts to call himself “La Maravilla”, and indeed the album is a jewel, carrying the anger and softness to mediate and reckon his faith. And the tiraera was revived, there are full mixtapes of fellow reggaetoneros and rappers confronting him, the big names were interested, his fantastic appearance in both of Daddy Yankee’s “Pasion” and “Somos de Calle Remix”, his epic flow in the majestic “Algo Musical” by Nejo y Dalmata and finally the awaited first physical release of what I hesitate to call his debut but most will do so.

El Fenomeno features some of the big producers of the genre, which is not a good thing as the album falls into the ordinary more than we had wished for, not enough to disappoint but seems like his ambition is somehow got blurry, this at its best aspires to be a good Chris Brown album. I keep using American artists as reference, which speaks volumes of how unprecedented this guy is. I can’t think of any other artist on our circuit with such power at both raping and singing, and that was perfectly showcased on La Maravilla, this new album is way too romantically lousy for its own good, but he’s even great at manipulating themes to find some balance. One minute he is talking details about how to conquer love, practice sex, destroy his enemies and thanking god for letting him do so.

Some highlights of the new album are the electrifying “Ta’ Bueno el Ambiente”, the demanding “I Got Flow”, the club banger “Nada Malo” and the intimidating/aggressive “Agresivo Part 3.” Also included are six tracks from the unreleased album, which are all great, plus one of the most embraced songs at this blog, “Chica Virtual.” I stumbled on a forum somewhere where a person reproached the album was full of “reggaepop, electronic and weird things”, reminds you of someone, cough Calle 13 cough... no way am I comparing him with the consistency of Residente & Visitante, but just like them, he has dispatched himself almost completely from the genre he was supposed progress. But hey, I don’t mind listening to these tracks on radio, it would be great to see it taking over, and I wouldn’t be surprised to see success in the proportions of a Yankee or Flex. Even if the album has producers Luny Tunes on board, this is highly pleasing album that still sustains Arcangel as Reggaeton’s current MVP.

Want to hear the best track Don Omar has ever touched? Yes, there’s a good one, grab it.
 

♫♫♫ “Nada Malo”

♫♫♫ “Chica Virtual"

♫♫♫ “Quimica Sustancia” feat. Don Omar

Buy it @ amazon.com

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Masacre Musical, De La Ghetto

MASACRE MUSICAL, DE LA GHETTO
Machete Music, Puerto Rico ***
Rating: 63
By Carlos Reyes

The urban releases are quite hard to keep on track, there are just so many of them (+ I don’t listen to FM radio), I had no clue De La Ghetto had finally released his awaited solo project. In case you don’t know him, he was part of the duo Arcangel & De La Ghetto, which wasn’t a great act but they were a standout. Austin Santos “La maravisha” was one of the surprises 2008 gave us, so I was really looking forward to discover the other half of the project. Recently, the visionary now part of Mad Decent Toy Selectah not only recommended Masacre Musical but says is one of the best releases of 2008. Although I don’t quite agree with him, I had a fun time listening to this, it’s unexpectedly romantic and that would for sure bother many. I’m still swallowing Arcangel’s official debut, which is already out in stores but it’s hard to jump on a conclusion just yet, it’s a frustrating record but frustratingly pleasant. Back to Masacre Musical, let’s get one thing straight, production-wise it’s a great urban album, there’s much creativeness with beats, even some exploration with electronic bouncing. But this guy is missing the amazingly amusing vocals of his old partner, and just like Yankee in Talento de Barrio puts too much emphasis on singing instead of flourishing his talent as a rapper. First single “Es Dificil” belongs completely to American R&B, and it’s quite good. Randy collaborates in “Nota Loca”, one of the highlights of the album and if I’m not mistaken, an assured single. Too many tracks fall into cliché and not too distinct lyrically, but the musical base is interesting to say the least. The English-language tracks actually have potential for mainstream radio, and the bilingual radio format which is increasingly popular in the states. Now here is the catch, the opening track “Gansta” is the bomb, so much that it makes the rest of the album look bad. It is musically epic, very anthem like and the album’s ultimate high point. 

♫♫♫ "Gansta"
buy @ amazon.com
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"Chica Virtual", Arcangel

I don’t usually please requests, simply because that’s like not the point of this blog at all, but considering that it’s coming from several readers, well, why not? Before I make the post even more confusing, I’m talking about a requested song, “Chica Virtual” by Arcangel (one of the most popular tracks on our Rocola). It gets frustrating to talk about this artist because nothing seems to solidify in his favor, and I’m scared he’ll go the wrong way and become just another reggaeton artist, which he isn’t. Arcangel is collaborating with everybody, even making the official remix for Flex’s “Te Quiero” and that’s both depressing and scary, he has not released an official physical album yet and is one of the most demanded artists in the genre. Arcangel needs some guidance, stay away from the Daddy Yankees and the Don Omares, keep Nejo y Dalmata very close and put some more fire into Full Records. Don’t disappoint me; you got the material to become huge with your rough egocentric proposal. I posted a video for “Chica Virtual” on Halloween, which has Michael Jackson’s video footage, and our readers really loved it to the point people are asking if it’s a new single. Truth is, this song is from his 2007 The New King Mix Tape, which was my first encounter with reggaeton’s new guru. At some point I intended to post the following video on our ‘Video Bizarro’ series, but I might as well post it now, it’s sexy and the woman‘s last line is adorable: “I don’t know Spanish, but who cares, I tried my best.” That’s the spirit!

♫♫♫ "Chica Virtual"

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El Otro Mixtape, Chyno Nyno

I still can’t understand how Wisin y Yandel and Flex are now Latin Grammy winners, before urban god Tego Calderon, I’m sorry but that’s seriously fucked up. Anyway, this post isn’t much about him as he only does a tiny collaboration here; the shining protagonist here is Chyno Nino. His name is Andre Rodriguez from Puerto Rico, according to his MySpace he is “the favorite rapper of your favorite rapper.” I am deeply impressed by the supremacy and command of his lyrics, a comeback to classic Hip Hop. He might not belong to the circle of great reggaeton acts made up of Arcangel & Ñejo y Dalmata, but I wish I could hear him on radio a lot more often. I remember listening to a remix of “Los Mate” from Tego’s masterful The Underdog/El Subestimado which featured Chyno Nino and Arcangel; I don’t think he’s been on mainstream radio since then. Thing is he just released the best Latin urban mixtape I’ve heard since Arcangel’s The New King. The standout track here “Genuino”, and believe me, the voice and lyrics are powerful on all 21 pieces of El Otro Mixtape. I almost spilled my coffee when I heard Tego shouting “Chyno Nyno mira vamo’ al coro cabron no abuse.”

♫♫♫ “Genuino” feat. Tego Calderon
MySpace

Halloween Post #2: "Chica Virtual" by Arcangel (Michael Jackson on visuals)

So, after getting the candy, get to the parties. I uploaded a video I found on YouTube (but embeding was disabled) but I had to share it here. Everytime I listen to "Chica Virtual" by Arcangel (aka "La Maravilla" or the most talented MC after Residente Calle 13) I remember Michael Jackson, and everytime I remember Michael Jackson I remember Halloween. Just like that. ENJOY.

Best Songs of 2008 So Far Vol.1

2008 Half-Year Roundup
Vol.1
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30.“Lejos”, Becker

From: Andes (Home Records)
YouTube/Myspace/
Becker was one of the great discoveries for me that resulted from the Latin Grammy special. It was listed by both of my partners in the breakthrough category and I completely agree. Becker has that “it” factor bands all around latinoamerica are searching for and a bit more, they sound like nothing I’ve heard recently especially on this heartbreaking song. (Jean-Stephane Beriot)
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29.“Donde estaran, tan, tan”, Cantoalegre feat. Juanes
From: Un dos tres por todos mis amigos y yo (Independiente)
YouTube

Resulta poco común incluir una canción infantil en una lista como esta. Pero quise rescatar esta pieza escondida en un disco para niños realmente memorable, que hace un recorrido folclórico a través de las voces inocentes de los pequeños de Cantoalegre, acompañados por su mas reciente padrino: Juanes. (Paulo Correa)

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28.“Querer”, Chetes
From: Efecto Domino (EMI Music Mexico)
YouTube/MySpace/IMEEM

Chetes is much more enjoyable working with minimalistic lyrics. “Querer” is about given yourself to that special one, at times sounding cheesy and too standard, but acquiring emotional heights along the way. Admitting that you’re in love is admitting that you must take extra steps to find equilibrium. A non-traditional approach to accepting loving someone by a non-traditional singer who is always ahead of his game. (Carlos Reyes)
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27. “Amar en el campo”, Teleradio Donoso
From: Gran Santiago (Independiente)
YouTube/MySpace/IMEEM

Teleradio Sonoro is along with Javiera Mena one of the most promising acts from my adopted country Chile. “Amar en el campo” is a great pop song, working with themes concerning lifetime’s mediocrity and more crap like that surprisingly dissolved in great catchy tunes. The kind a song I always demanded from La Ley, the band that undeservedly still holds the spot as the biggest musical import from Chile. (Jean-Stephane Beriot)

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26. “Todas esas cosas”, Smitten
From: En algún lugar (Iguana Records)
YouTube/MySpace/
Esta banda de rock argentina dio una sorpresa con esta vibrante canción, que con una melodía basada en escalas sucesivas (al mejor estilo de Fito Páez) logro recientemente colarse en los conteos de los principales canales musicales de Suramérica. (Paulo Correa)
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25.“El sexo sin amor”, Jessy Bulbo
From: Saga Mama (Nuevos Ricos)
YouTube, MySpace/IMEEM

If you don’t know Jessy Bulbo yet let me tell you she is freaky, in the best possible way. “Sexo sin amor” is one of the best laidback songs this millennium has given us. A song working on parallel disfigurations, meaning that each one has its own mind but will eventually encounter. So stop the worries, get lost for a day, and don’t even try to care about stuff, see what it feels to be arrogant. Time consumes our lives and sex is a way to let it out, as long as you’re not in love. (Carlos Reyes)
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24.“Tu sombra”, María Daniela y su Sonido Lasser
From: Juventud en extasis (Nuevos Ricos)
YouTube/MySpace/IMEEM

Perhaps because I mostly live in Los Angeles, but most of the music I listen to in Spanish comes from Mexico, Maria Daniela has become a favorite. I adore everything about “Tu sombra”, its kitsch, the girly attitude and the fun electro backgrounds. And is still so poetic, “tu sombra se ira, mucho después que tu.” Maria Daniela’s Juventud en Extasis is her most complete work yet and one of the finest albums lately. (Jean-Stephane Beriot)
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23.“Pa’ lante”, Willy Chirino
From: Pa' Lante (Latinum Music)
YouTube/MySpace/

Compuesta por el cantautor chileno Alberto Plaza, es una prueba mas que el tropipop esta en su furor. A ritmo de vallenato y acompañado de acordeón, Willy Chirino regreso al top de las emisoras tropicales. (Paulo Correa)
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22.“Algo musical”, Ñejo y Dalmata feat. Arcangel
From: Broke & Famous (Unsigned)
YouTube/MySpace/IMEEM

Ñejo y Dálmata are the latino answer to The Cool Kids. In this song they joke about how their music is selling more than crack, yet they acknowledge their underground status by naming their album Broke & Famous. Before the duo decided to unite, they had solo projects that already portrayed non-comforting visions. “Algo Musical” also suggests music being a sex appealing attribute, and Arcangel’s presence only adds attitude to the majestic urban song. (Carlos Reyes)
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21.“Hello Tarantino!”, Descartes A Kant
From: Paper Dolls (Intolerancia Records)
YouTube/MySpace/IMEEM

I first heard of Descartes A Kant by a friend who is one of the members of the Yeah Yeah Yeahs who recommended me to listen to this great band from Guadalajara, Mexico. To my surprise, they sound very similar, and that is one of the best compliments I can possibly give. Great female vocals in this experimental band that should appear on a soundtrack by a Tarantino movie. (Jean-Stephane Beriot)
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Parts II and III coming soon.

La Maravilla, Arcangel

LA MARAVILLA Arcángel, Puerto Rico
FLOW FACTORY?
by Carlos Reyes

Is Puerto Rico really producing the best music in Latin America? Perhaps not as revolutionizing as the one produced in Spain, but when you have the hottest urban act (Calle 13) the most respected Latino rocker (Robi Draco Rosa) and a new wave of rock in the island (Circo, Black Guayaba), one can already forecast the emerge of new talented musicians. Arcángel is one of them; even though he is an experienced reggaetonero he finally earns his emancipation with La Maravilla. The direct title suggested a masterpiece, a marvel, something only Kanye West would have the guts to self proclaim. La Maravilla (leaked by the artist via Rapidshare) sounds like a masterwork indeed. It's a progressive album that signifies a new quest for the urban genre. Along with the recent Vico C’s Desahogo and Calle 13’s Residente y Visitante, Arcángel delivers one of the best Latin urban albums of all time.

The opening track "Intro" is a collaboration with long time imprisoned rapper Tempo, it is an ironic and self constructive introduction recorded as a phone call from prison. They kindly greet each other, and immediately form a padrino-aijado relationship were both seem to question hate, popularity and the genre’s mediocrity. The inspiring album follows with "Tengo tantas ganas de ti," reminiscent of the early work by Michael Jackson in both, sounds and themes. Later he takes us on a trip where we found a tabooed genre within the reggaeton community: POP. Arcángel is never fearful of touching foreign musical grounds, and that itself elevates his art and reaffirms that his flow factory is factual and not just an entrepreneur’s attempt. The wonder stays away from formulas  and decides to make a path for himself.

No Pueden Con El Chamaquito asks his competition to accept that they can’t handle his flow. At the same time, the song carries a message (targeting both, politics and the monopoly of the music industry) where he suggests change must happen in the greatest empires and announcing that his turned has come. A song that seeks attention to the new generation acknowledging the individual at the throne (either a president or Tempo) calling him “the lion” and introducing “the kitten” (Arcángel obviously), and man! this baby sure knows how to roar. We find exotic tropical rhythms in"Me he enamorado de ti" and first single "Pa que la pases bien," both songs that will.i.am has been trying to produce in the last few years without any fortune.

The album's unprecedented technique is its organization. It follows a template consisting of an introduction (with a fantastic clincher), a body that's truly celestial, and a classy conclusion with the final track "Te Falta," a song where he no longer calls himself a kitten, but a true cantautor. While Daddy Yankee and Don Omar fall into clichés by calling themselves the kings with pathetically simple lyrics, Arcángel proves himself to be worthy of earning the crown soon. He's like a young open-minded Vico C, distilled of the evangelical tone. It's refreshing to see a singer/rapper/reggaetonero that has no regrets in presenting romanticism and melancholic verses alongside sexual connotations and have it all fit within popular entertainment. Who else could come out with the most hysterical introduction in a song? One that totally blew me away -“Yo soy Arcángel. Optimus. Transformer.”. What an intimidating (and genius) way to make a first impression. 

Numeric Rating: 96/100