RECORD OF THE YEAR
No Es Que Te Extrañe
Christina Aguilera
Christina Aguilera’s Ecuadorian roots run deep in her musical DNA. A heart-wrenching epic about trauma and forgiveness, “No Es Que Te Extrañe” is actually two songs in one: It begins as a delicate ballad with crystalline notes of acoustic guitar at the center of a mix boasting a distinctly organic feel. Aguilera’s natural performance — devoid of any digital additives — takes a lead role from the beginning. Following a subtle transition marked by vocal effects, the track morphs into a folk-flavored South American pasillo with tribal drumming and majestic strings. This epic climax leaves space for Aguilera to showcase the extraordinary power of her vocal cords.
Carretera Y Manta
Pablo Alborán
The opening track from Alborán’s sixth studio album — La Cu4ta Hoja — this infectious gem showcases the staggering sophistication that contemporary Latin pop is capable of in terms of arrangements and production technique. Written by the Spanish singer himself, “Carretera Y Manta” kicks off with a fleeting intro of guitar loops. The first verse juxtaposes Alborán’s intimate vocal delivery with an elaborate beat soaked in urbano moods. Jazzy electric guitar lines add coloring throughout and go into funk attack mode during a bridge reminiscent of late ’70s Chic. The near instrumental outro flirts with disco as Alborán neatly wraps the song up repeating the word deseo (desire).
Déjame Llorarte
Paula Arenas featuring Jesús Navarro
The lyrics of this breakup ballad culled from A Ciegas — the second studio album by Colombian singer/songwriter Paula Arenas — are devastatingly intense. Following the principle that less is more, producers María Elisa Ayerbe and Marcos Sánchez treat the sonic elements like a fragile piece of art that could shatter at the lightest touch. The arrangement is almost ascetic, making every single detail count: the subtle hum in the intro, the sparse piano line that leads into the first verse, and the elegant touches of guitar and percussion that underscore the drama in the chorus. Most importantly, the voices of Arenas and Reik frontman Jesús Navarro are placed at the very center of this dazzling mix.
Shakira: Bzrp Music Sessions, Vol. 53
Bizarrap featuring Shakira
One of the most popular songs of the year so far is also one of the most invigorating and transcendent collaborations in the annals of Latin music. Bizarrap grew up listening to his parent’s record collection, and his love for soundtrack albums and ’90s dance hits informs the shimmering sonics of this relentlessly upbeat track. The rhythm track is thick and bouncy, and the Argentine producer keeps things moving with his trademark use of flashy synth lines in the breaks between verses. But Bizarrap’s sessions are always about the guest star, and Shakira’s vocal line is open and spacious, amping up the echo e!ect leading to the epic climax.
Si Tú Me Quieres
Fonseca & Juan Luis Guerra
Dominican icon Juan Luis Guerra and Colombian troubadour Fonseca are known for favoring lilting folk soundscapes in their individual projects. It doesn’t come as a surprise that their life-affirming duet on the tender “Si Tú Me Quieres” evokes the dynamic of a live performance. Free from unnecessary e!ects or digital gimmicks, the mix is all about the relaxed performance of both artists, their singing enveloped by sweet accordion lines and supple touches of percussion. Harmonically, the track opens up during the bridge, with Guerra and Fonseca trading lines on top of a sophisticated, near-cinematic orchestral backing. This moment of tension resolves itself as the accordion returns for a wistful, feel-good finale.
Mientras Me Curo Del Cora
Karol G
Compared to the ominous atmospherics of “Provenza” and the feverish EDM break of “Cairo,” “Mientras Me Curo Del Cora” sounds as placid as the lyrics focusing on healing and self-acceptance. The ongoing collaboration between Karol G and fellow Colombian producer Ovy On The Drums (joined by Linda Goldstein and Juan Andrés Ospina to produce the track) has become one of the essential artistic partnerships of the decade. Ovy’s intuitive touch envelops the Colombian diva’s vocals in a sumptuous mix that draws from his digital panoply of effects but still manages to emote warmth. The opening track of Karol’s Mañana Será Bonito, “Mientras Me Curo Del Cora” samples Bobby McFerrin’s “Don’t Worry, Be Happy” and maintains a consistently breezy vibe of trippy loops and syncopated bass lines.
De Todas Las Flores
Natalia Lafourcade
Recorded live on analog tape during a series of intimate sessions held at a Texas studio with visionary French- Mexican producer Adán Jodorowsky — no visitors were allowed during the making of the record — Lafourcade’s 10th studio album found her returning to a cycle of original compositions after years spent paying loving tribute to the Latin American songbook. The production is exquisitely layered on the title track, the soft, acoustic percussion followed by delicate piano notes from arranger Emilio Dorantes, with soulful backup vocals and jazzy guitar licks by legendary axman Marc Ribot. The carefully arranged sonic architecture of the piece mirrors the inimitable singer/songwriter’s own, highly poetic cosmovision.
Ojos Marrones
Lasso
Venezuelan singer/songwriter Lasso showcases his encyclopedic understanding of traditional pop-rock on “Ojos Marrones,” a hit culled from Eva, his fourth studio album. Recorded with the objective of keeping the rhythm steady in order to generate an indelible mood, the track is minimalistic from the beginning — the bassline and 4/4 drum beat breathing in unison, interrupted by tasteful electric guitar licks. Lasso’s textured singing occupies the center of the mix, as he speaks about a past romance that cannot be forgotten. A subtle delay effect pops up during the second chorus, but for the most part, the song keeps the purity of its vision intact until the very end.
La Fórmula
Maluma & Marc Anthony
A slick synthesis of urbano panache and salsa gravitas, “La Fórmula” is the work of two contemporary stars who understand the dynamics that make Afro-Caribbean music tick. “La Fórmula” begins like a darkly hued reggaeton jam, with moody chords drenched in reverb and Maluma showing o! his vocal chops. A syncopated fill on the timbales takes the track into salsa territory, complete with punchy brass ri!s and a spidery piano tumbao. But this is not your grandfather’s mambo. Co-produced by frequent Marc Anthony collaborator Sergio George, “La Fórmula” dresses up the salsa elements in a punchy digital sheen. Maluma’s furious rap interlude and a brief rumba outro complete this captivating fusion of genres.
Despechá
Rosalía
Last year, Rosalía’s third album, Motomami, single-handedly challenged the very essence of what a pop record could be. Included in the deluxe edition of Motomami, “Despechá'' is a Dominican mambo gone hyperpop, a remarkable feat of engineering that continues on the stylistic path that the Spanish singer pioneered in recent years. It begins with a staccato piano vamp that is soon joined by a merengue groove. Rosalía’s existential pop could only have blossomed in the digital era — “Despechá” brims with the clarity of synth patches and state-of-the-art reverb. But her vocals are emotional and direct, and her mixes combine touches of icy elegance with blistering heat. A brief rap interlude brings the track to a sudden — but hugely satisfying — conclusion.
Correcaminos
Alejandro Sanz featuring Danny Ocean
Expertly produced by Spanish helmer Alizzz, “Correcaminos” tailors its wall-of-sound approach to its two protagonists, allowing the voices of veteran pop master Alejandro Sanz and Venezuelan innovator Danny Ocean to soar free. The interplay between both artists is particularly enjoyable, anchored on a sweet combination of acoustic guitar, an unassuming bass line and the ingenious loop that keeps the song’s dynamics moving forward at all times. There is a subtle hint of flamenco flavor in the arrangement, seamlessly combined with the refreshing pulse of the Urbano genre. “Correcaminos” fades out emphasizing its acoustic elements, leaving the listener pining for more.
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