gratitude goes out
to all of you who inspire me from fam to friends to la escena to la isla to everything & everybody out there. thank you, thank you a todes que han estimulado este camino.
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“Salitre”: Seba Otero Uses Singer-Songwriter Roots to Mix a Variety of Electronic & Analogue Sounds12/30/2022 With a career that goes back at least five years, Seba Otero, previously known as Sebastián Otero, received the blessing of working with producer Eduardo Cabra AKA Visitante, of Calle 13, Trending Tropics and Cabra, to work on his debut album Salitre, a project that finds him exploring a variety of indie, Caribbean and experimental sounds while sticking to his balance singer-songwriter roots. Salitre starts with its title track, a song with reggaetón roots that mixes elements from electronic music, Caribbean genres, and indie singer-songwriter sounds. Afterwards, “Tiempo y Sal” takes on elements of trip hop, hip hop, and world music to provide another poetic tune full of beautiful vocals. Then “Mejor Que Antes” is a smooth R&B/hip hop/synthpop blend that brings back vibes from Seba’s previous single “Miel y Mantequilla”. Next “Siglos” is a very short interlude before the project moves on to the second half. The second half starts with “Juyendo” mixes hip hop and electronic elements with Caribbean sounds to create a unique critique of the Puerto Rican political spectrum. Subsequently, “Guapea” is a collaboration with Rafa Pabön that creates a blend of reggaetón with a bit of cumbia and other Latin sounds to make listeners dance. Later, “Atardecer de Primavera” perfectly blends folk, hip hop, and other Caribbean sounds as the artist reflects on leading his own life while he shows his singing and rapping skills. Finally, “Dile Que Me Fui” finds the artist using autotune in a record that mixes ethereal R&B, reggaetón, and Caribbean sounds to provide space for the artist to reflect on him becoming a part of Puerto Rico’s diaspora.
In closure, Seba Otero’s Salitre is a beautiful presentation of the artist’s singer-songwriting roots and the many sounds he’s willing to explore for the broader audience who has yet to discover his sound. a little bit of healing
is what we need. a little bit of love, communication & understanding can help provide that. The first time I knew about the International Dub Ambassadors was at Calle 13 concert when they opened for the headlining band. Fast forward a few years and they’ve become the quintessential reggae/dub band in the indie scene having collaborated with artists like Gomba Jahbari and Puerto Rican indie legend MIMA. After having released a variety of singles with MIMA in 2019, the group decided to record material on their own that would later become part of their album La Calor, a project that consists of a series of original reggae records accompanied in the second half with dub versions of each song. La Calor starts with “Te Crees Tú”, a very psychedelic reggae tune that kicks off the project beautifully. Afterwards, “Meses” encapsulates time, specifically that time of enclosure the world had to endure during the pandemic. Then “Un Verano” is a love-driven collaboration with Don Carmelo that’ll fit perfectly in beach playlists. Next “¿Qué Tú Quieres?” continues the high energy reggae vibes. Later, “La Cascada” lays back and allows listeners to calm down as the record delivers the experience promised on its title. The sixth song, “Clever” is a great display of the group’s mastery over the reggae sound. Finally, the second half of the project features Pachyman performing a series of dub versions of all but one track off album, which displays the band’s willingness to explore multiple sides to their music and their ability to provide different experiences to their audience.
In sum, International Dub Ambassador’s La Calor is a fantastic presentation of the group’s sound and how far they’re willing to take it to explore its different sides that might provide a variety of experiences for all sorts of listeners. in the search for enlightenment
man falls into rabbit holes that can provide knowledge or madness. With a career that started a little before the pandemic, pop punk band Difusión managed to take advantage of the free time during the enclosure to create their debut album, Mi Raison Detre, a project the finds the group focusing on the more melodic side of the sub-genre. Mi Raison Detre starts with “Introducción”, a proper introduction to a broader audience to the band’s melodic pop punk sound. Afterwards, “Recuerdos X Olvidar” is a reflection on a finished relationship, the relocation of a loved one or the passing of a loved one. Then “Peter Play” is an introspective record that finds the voice reflecting on the loss of a loved one at a young age. Next “Valga La Redundancia” is a track where they explore appearances and how deceitful they can sometimes be. Later, “Noche de Reyes” is a story-driven alternative rock song that touches on grief and what that can experience can entail. The sixth entry, “Después de un Beso”, another showing of the group’s storytelling skills as they present a love story. The second half starts with “La Primera Vez”, another love-driven record that perfectly displays the band’s blink-182 influences. Subsequently, “¡Ay Amor!” encourages listeners to follow their dreams and try their best to achieve their goals while displaying how the band can switch from electric to acoustic guitars with ease. The following track, “¡Ah, Pero No Somos Punk!”, incites listeners to be themselves especially when others try to identify who you are. Then “Canciones de Amor” is a song that reflects on love and friendship. Next “Superstición” reflects on heartbreak and moving on. Finally, “Mi Razón de Ser (Acércate)” is a blend of acoustic and guitar pop punk with a smooth piano and some violins that provide space for personal introspection and love.
In closing, Difusión’s Mi Raison Detre is a wonderful presentation letter for the band as they deliver on their pop punk roots in both electric and acoustic styles while providing sounds they’re willing to explore and lyrics that’ll make listeners think about themselves and relationships with others. take a look
at old school paintings just through the digital spectrum & you’ll find gracefulness. now just imagine seeing them in real life. a little bit of selfcare
needs to be practiced more often, but our rush hour lifestyles continues to make this difficult. “Inestable”: Spechal K Collects and Explores Various Sounds While Sticking to His Rap Roots12/27/2022 With a career that spans over six years, Spechal K had only released singles every now and then across multiple platforms. But at the end of 2022, he formally released a full project with his EP Inestable, a short presentation of the artist’s skills over a variety of hip hop-rooted sounds. Inestable starts with “Cabeceen”, a boom bap collaboration with MC Torres that gives the artists a space to display their lyricism. Afterwards, “EstoNoEsPorFama” features Daniel Mayo in a trap-inspired beat that allows the main artist to show a different flow. Then “Jet” brings Aswiche on a mix of trap and industrial hip hop that allows the musicians to flex old school rock star lifestyles. Next “Tú” is a love-driven mix of R&B and boom bap. Later, “Juicio” is a blend of boom bap and drill elements reflecting judgement. Subsequently, “Rastafari Gangsta” closes with Naimero joining the project Spechal K demonstrates his reggae influences and appreciation of weed.
In summary, Spechal K’s Inestable is a short EP that allows the artist to embrace his hip hop roots while displaying the many genres he’s willing to explore to get out of his comfort zone. After five years under his belt as well as multiple singles, features and an EP here and there, singer and rapper Fanta Rosario finally decided to release his debut album, Yo, Yo y Yo, in late 2022, a project that displays the musician’s experimental hip hop roots and the many avenues he can explore. Yo, Yo y Yo starts with “Donde quiera que tú estés”, an introspective soulful hip hop track where the artist shows his balance of rapping and singing. Afterwards, “Quieren lo que quiero” is hip hop track with a hypnotic piano sample that features the artist flexing his skills. Then “Marbella” is a collab with VEI HABACHE in a track that presents some of the artists’ late 1990s and early 2000s influences with some love and sex-driven lyrics. Next “Ámame” is piano-driven tune that mixes trap, drill, and electronic elements to create a unique sound. Later, “Conexiones” is a hip hop song with that feels like it’ll perfectly fit late-night driving playlists with its lowkey/laid back vibe. The second half starts with “Huracán Color Rosita”, a blend of glitch music and hip hop that continues to demonstrate the different sounds Rosario is willing to explore. Subsequently, “Big Spoon, Little Spoon” features VEI HABACHE and Andres Melz in a bouncy southern hip hop record that explores toxic relationships while also displaying Fanta and VEI’s chemistry. Following that is “RRRR”, a melodic trap track that puts Rosario’s experimental vocals in full display. Then “Fanti bb” closes the project with another high energy track that also displays the artist’s experimental nature.
In short, Fanta Rosario’s Yo, Yo y Yo is a project that properly presents the musician’s experimental hip hop roots to a broader audience, especially the Tik Tok generation with his ability to make fun and interesting songs in two minutes or less continuously. solitude has made us
into different people & the pandemic continued that process. After delivering FREEDA and CALO earlier this year, rapper and overall musician P.ANTHONY decided to close 2022 with FREEDA CALO, a project that compiles what seems to be unreleased tunes and remixes related to the experience. FREEDA CALO starts with “Amanecer”, a piano driven ambient hip hop tune with an interesting switch that presents the artist in vulnerable fashion as he displays some of his Residente influences. Afterwards, “Pistola de Papel” blends Caribbean and electronic sounds to create a unique danceable experience. Then “Dharma (Alma Brazileña)” features Isa in a different version to the original as this time Brazilian vocals take center stage on the song’s chorus along with its bossa nova sound. Next “Choose Wisely” is a collab with Tillie Gya where P.ANTHONY decides to explore psychedelic, dub, and reggae sounds. Later, “Irme Pal Carajo (Punk de Garaje)” is a much more hard rock-driven version of the Taiana collaboration. The sixth song, “Boquita de Manzana” is a rock n roll tune that presents the musician exploring his singing and autotune skills. The second half starts with “Predicador Metralleta (Armagedón)”, a remix that blends the Yeezus-era Kanye sound with some cinematic vocals that make the song feel apocalyptic. Subsequently, “El Carro de Toretto” shows P.ANTHONY’s hardcore lyricism over some experimental industrial production. Afterwards, “Ésta No Cuenta” is a brief behind the scenes into part of the creative process of the FREEDA CALO Experience. Following that “Amol con L” is love-driven boom bap production with a hypnotic piano that allows the artist to display his rapping and singing skills. Finally, “Once” closes the project with a song featuring some lowkey production that allows the artist to spit introspective bars.
In sum, P.ANTHONY’s FREEDA CALO is a collection of the experience’s leftovers and remixes that gives listeners a behind the scenes type of journey into the musician’s creative process. After delivering FREEDA in March 2022, P.ANTHONY followed his Frida Kahlo-inspired experience with CALO, a project where he continues to display his musical exploration across different styles and sounds. CALO starts with “Días Buenos Días Malos”, a blend of psychedelia, jazz, and boom bap that allows the artist to explore duality mentioned in the title. Afterwards, “Barco Abandonao” it features some Kid Cudi-inspired production alongside some beautiful guitars that add layers to this love-driven track that could be interpreted as a love for a person or the artist’s relationship with Puerto Rico. Then “Abril 29” is an electropop and hip hop mix that later closes with a smooth saxophone, which displays the musician’s storytelling abilities. Next “El Gran Escape” is rock rap record that puts the bass up-in-front making it feel like a perfect entrance for The Undertaker when he was in his motorcycle era as the artist shows his filmmaking influences in the process. Later, “Ciudad Gótica” takes the artist back to his industrial hip hop sound as he mixes it with grime and drill elements to explore his role in the world of art through the Batman metaphor. The sixth song, “Si Estuvieras en mis Zapatos” uses a lowkey piano on the background to make listeners reflect on the brief commentary being provided. The second half starts with “Predicador Metralleta”, a tune that finds the artist displaying his filmmaking and storytelling abilities as he reflects on personal experiences and those of loved ones over a beat clearly inspired by Yeezus-era Kanye, specifically the song “Black Skinhead”. Subsequently, “Pesadilla” is a piano and guitar-driven hip hop track that shows the artist’s detailed storytelling skills displaying his Canserbero influences over a tale full of love and death. The ninth track, “Antiel Ayer y Hoy” is a 90s-inspired hip hop record with an interesting switch that finds the artist reflecting on the various tragedies going on around him and the world at large. Then “Peter Pan” brings a hypnotic piano to some boom bap production P.ANTHONY takes it to spit some bars and reflect a bit. Next “Pienso Diferente” is another boom bap driven song that displays the artist showing his different thought process and opinions while also demonstrating his hope for future generations. Finally, “Tinkunakama” closes the project as the artist says goodbye for now alongside some beautiful jazzy rap production.
In closure, P.ANTHONY’s CALO is a fine follow-up to FREEDA as the musician continues to display his varied musical palette while sticking to his experimental hip hop roots. treasonous acts
are often practiced by politicians, yet we continue to pick ‘em as our leaders. After starting his career in 2020 with the release of “Rap 101” and releasing a few singles here and there, P.ANTHONY would take his career in a more conceptual direction with the release of his formal projects such as the P.ALBUM, the EP B & W, and what I like to call the FREEDA CALO Experience, a three album concept divided into FREEDA, the first project, CALO, the sequel and FREEDA CALO, the last entry. The first of these is a perfect display of the many sounds the artist is willing to explore as he takes on the spirit of legendary painter Frida Kahlo to detach himself from any artistic limitations, which may arise in the creative process. FREEDA starts with “Breaking da System”, an industrial hip hop production that starts lowkey allowing the musician to present his mission statement before doing so with in-your-face sounds that would make Yeezusand The Life of Pablo Kanye fans proud. Afterwards, “Mortero” features MAGNAXIS continues P.ANTHONY’s lyrical display over industrial hip hop production that also allows him to pay tribute to some of his influences like Bad Bunny and Canserbero. Then “Libre y Sin Bra” changes sounds a bit as the musician blends boom bap, pop rap, glitch and some rock n roll elements to celebrate female freedom and empowerment. Next “Moriviví” is spoken word piece that displays the artist’s storytelling abilities over some lowkey production that allows him to explore the 9 to 5 experience and how art can allow everybody to escape it, which perfectly transitions into the subject of the following song, “Volar”, which reflects on the freeing nature of art. The next song, “Dharma” is a collaboration with Isa that finds the artists blending bossa nova, hip hop, autotune, and soulful vocals to create an interesting experience. Subsequently, “La Ceja” finds P.ANTHONY displaying his skills over some experimental production that can be heavy but lowkey creating an interesting space for the rapper to show off his lyrical abilities. After that, “Pressss” is a soulful boom bap beat that serves as the perfect production for the artist to reflect on his life, career, and goals. The second half starts with “Irme Pa’l Carajo” features Taiana in some production with boom bap roots, but one that features great guitars, pianos and a blend of aggressive lyricism and soulful vocals that would play beautifully in a live performance with an entire band. Afterwards, “Flores en la Cabeza” is an ambient synth collab with Karla Cristina that gives her the space read/perform a political text. The eleventh track, “Resistencia” is an experimental political hip hop track with melodic elements. Then “Seguimos?” leans on traditional boom bap production that allows P.ANTHONY to display his lyricism. Next “Obvio” finds the artist going back to experimental industrial hip hop production that would intrigue Run The Jewels fans. Later, “Uvas Playeras” provides some lowkey production that later blends Caribbean sounds as he reflects on his loved ones and the many aspects that connect him to Puerto Rico while he displays his Residente influences. Subsequently, “Ken Kaneki” brings P.ANTHONY back to his industrial hip hop sound as he blends it with drill and glitch elements in a short instrumental interlude. Finally, “Morph into the Future” features Meta Verse in a speech that feels like the intro to a horror sci-fi movie.
In conclusion, P.ANTHONY’s FREEDA is a fantastic first part to a concept project that finds the artist exploring his creative freedom in many ways from sound and flows to collaborations and subject matter. words in prose today
are used to provide incomplete information used for the clicks. After releasing a bunch of singles ever since his No Es Suficiente EP, Zzzayas returns to the format with ZZZ, a short project that allows him to summarize his recent soundscape while closing the year in great fashion and promising a brighter future ahead. ZZZ starts with “EL SON”, a short track that serves as an intro as well as a party starter that’ll probably create mosh pits. Afterwards, “ANGELO” is a bass-heavy trap and psychedelia fusion that provides some ethereal vibes. Then “CONEXIONES” continues the ethereal vibes, but this time around in a much more lowkey style that is heavily influenced by the ambient lo-fi hip hop vibes. Next “ZETA-ZETA-ZETA” is another trap track, but this one that finds the singer/rapper reflecting on his balance of being a normal person and an artist with big aspirations.
In sum, Zzzayas’s ZZZ is a summary of the soundscapes the artist has been exploring these past two years while also closing out his 2022 in a smooth fashion allowing listeners to enjoy the project, but also get excited to what the future might bring. After going a few years without releasing some music, probably due to the pandemic, 2022 became a pretty active for metal outfit Omnifariam as they released a few singles that would lead up to their latest EP The Summoning, a project that displays the band’s death metal roots and continuous expansion towards brutal genres. The Summoning starts with “Deceivers of the Bleak”, a melodic death metal and deathcore blend that kicks off what seems to be a story-driven project, but one that can also be interpreted as commentary on the current state of Puerto Rico and the little faith people on their government. Afterwards, “Leaders of the Dark” presents more of the band’s extreme and brutal death metal influences with a bit of the melodic side every now and then as they provide an epic Dethklok-esque experience. Then “Enslaved” continues the exploration of extreme metal, but this time mixes it with brutal death, blackened death metal and deathcore in a record that presents pure pain. Next “The Outsiders” is a death metal song that shows the group’s sludge metal influences as they provide an experience that reminds me of paintings of Hell and/or war as well as scenes right out of Mad Max Fury Road. Later, “Dehumanized” closes the project with the unit's most blackened death metal track in the EP as they close things out with a banger that’ll surely break some necks.
In conclusion, Omnifariam’s The Summoning is a project that shows many of the band’s extreme sounds while presenting what feels like a story-driven concept that can also be interpreted as commentary on many current issues. it seems like
dysphoria as covered an entire generation as multiple life threatening events provide a not so promising future. “Realengo”: Erre Explores a Few Different Sounds While Displaying His Rapping & Singing Skills12/22/2022 As one of the most active members of the scene Erre has released a bunch of music as a solo and featured artist as well as alongside his bandmembers Los Rarxs. Recently, to close out 2022 with a nice bow on top, he released Realengo, an EP that finds the musician exploring different soundscapes while he continues to display his lyrical abilities and singing skills. Realengo starts with its title track, a very bouncy trap banger that’ll surely have many heads banging and booties twerking. Afterwards, “Los20” finds the rapper blending rapping and singing over an entrancing guitar loop-driven tune where he explores different Latin sounds. Then “En La Mira” is a collaboration with Jan Mercé and Tommy Blanco where the artists mix dancehall elements with trap vibes. Next, “Dime Algo” features Mr. Huma in a party de marquesina type of reggaetón record that’ll surely have listeners bailando hasta bajo. Later, “Otro Día” is a short, bass-heavy track that presents the rapper reflecting on time, life, and his career. Subsequently, “Loko” closes the project on a high note as the artist takes on a beat with a variety of influences such as hip hop, electronica, acoustic guitars and more, which allows him to experiment with different flows and sounds.
In short, Erre’s Realengo is an exploration of different sounds that continues to display the artist’s willingness to get out of the comfort zone to play around in other environments. nefarious acts
are constantly committed by those we trust in powerful positions, pero después traen excusas y con el pasar del tiempo las cosas se olvidan. thankfully, the web has allowed us to always keep their acts of deceit in the public light. After debuting with their album Libre in 2017 and taking a bit of a hiatus, ska band SinKroníA returned in 2021 with a few singles that would lead up to their 2022 project RE-EVOLUCIÓN, a short EP that continues to display their roots as they explore other avenues. RE-EVOLUCIÓN leads with “Y Sigo”, a ska punk track that kicks off the project properly. Afterwards, “Sin Ti” features Mike Decentes in a song that shows a bit of ska elements but focuses more on pop punk and alternative rock influences. Then “Ritmo y Calma” is a sensual track that kicks off with more traditional ska influences before delving more into ska punk and alternative rock territory as the song transitions from one point to the next. Next “Yo Sé” is a fine love-fueled mix of ska and pop rock that feels like a throwback to the 1990s and early 2000s Puerto Rican rock scene. Later, “La Jalea” is a fun reggae and ska jam that gives space for the musicians to have some fun. Subsequently, “Eres” is a collaboration with Omar Kpa that closes the project in great ska punk fashion with a tune that’s both fun, but also one that can serve as a tribute to a loved one or as a thought provoking record.
In closing, SinKroníA’s RE-EVOLUCIÓN is a display of the band’s ska, reggae, alternative rock, ska punk and pop rock influences as they show that while they did take some time off, their sound is still on point. incipient rage
eventually explodes & pure souls are lost. After properly kicking off their career in November 2020 with the release of MESMERIZED, electronic musician TAURO took 2021 to work on everything that would be released in 2022, a few singles and the EP OUR WORLD!, a project which displays the artist’s electronic roots in many aspects while exploring a few other sounds through a variety of solo and collaborative records. OUR WORLD! starts with “D.C.M.B.”, a psychedelic collaboration with esté which fuses trap and ambient elements to display some of the artist’s singing and rapping skills. Afterwards, “CAPABLE” is a synthpop/hip hop mix that takes listeners to interesting, almost intergalactic atmospheres. Then “PRESSURE” is an electropop song that’ll have people dancing or reflecting on the lyrics which often express the struggles of working a 9 to 5 while trying to balance other passions, parts of life, and growing up. Next “METAMÓRFOSIS” features Bionic JeanGy in another tune for the dancefloor while the musicians reflect on their growth as people and artists. Later, “ELÓGIO” is a collab with Griiego that displays the musicians’ ability to jump on a melodic trap beat with ease. Finally, “FE” closes the project alongside deadperrx in a drum n bass-fueled track that’ll have listeners sweating after listening to the entire experience.
In summary, TAURO’s OUR WORLD! is a project that displays the artist’s electronic roots by exploring synthpop, electropop, drum n bass and even trap music. It’s an EP that lays down the groundwork for the musician’s sonic roots while leaving space for growth. as time passes i
see my fugacious youth go & white hairs gain space. |
AuthorFernando E. E. Correa González is the author behind over 30 self-published poetry books. He has been published by literary magazines & journals [Id]entidad, El Vicio del Tintero, Sábanas Magazine, Smaeralit, The Occulum, Tonguas and Hound Magazine. Other than writing, Correa is also the host of FENCast, a podcast dedicated to documenting the Puerto Rican independent art scene. Aside from this, he experiments with filmmaking, photography, drawing, painting, multimedia and transmedia. He currently lives in his native Puerto Rico. Archives
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