It’s the most thrilling moment on the record, an injection of unbridled energy that fades much too quickly. “Cosa Guapa” begins innocently enough as a standard pop reggaetón, then teleports to the floor at Fabric “❼uándo Fue?” lulls listeners in with familiar syncopation before dropping them into a vortex of skittering snares and deep, pulsing synthesized bass. After hinting at an affinity for Euro club music on Afrodisíaco’s “Quimica,” he further experiments here with UK rave and drum’n’bass. This expanded range has also yielded some fascinating results, mostly at the higher tempos. “Desenfocao’” feels modeled after the contemporary Weeknd, softening a Michael Jackson-via-Max Martin take on rock music with a slick pop sheen. And while it’s certainly a surprising direction for a young artist who came up on reggaetón and Trap&B, it’s also somewhat dispiriting that the big tonal shift comes from a track that would sound more at home on the boring half of a Dua Lipa LP, a lifestyle ad in audio form with a saccharine melody that appears to be lifted from Fergie’s biggest hit. The most forceful example of this is album opener “Todo De Ti,” his declaration that he is veering from the standard pop formula du jour-the Latin one, at least. Outside of Anitta’s turn on “Brazilera,” the most prominent guest on the record might just be the Daddy Yankee sample on “La Old Skul.” Alejandro is also listed as a producer on five of Vice Versa’s 14 tracks, evidence that his confidence in his own vision extends behind the boards, too. Yet its success has emboldened him to further experiment on his latest LP, Vice Versa, albeit with mixed results.įor better or worse, Vice Versa is presented distinctly in Alejandro’s voice historically a prolific collaborator, he largely eschews features. And indeed, while Alejandro dabbled in some new directions on his debut LP Afrodisíaco, much of that record hewed closer to the watered-down reggaetón and trap that dominates the Latin charts.
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So for Rauw Alejandro, a nascent pop star with gifts as a singer and dancer surpassing most of his contemporaries-including bellwethers Bad Bunny and J Balvin-the challenge becomes not how to get reggaetón on the charts, but how to get on the charts without making reggaetón.
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