The Singles Jukebox

Just what you’d expect inside his new streaming playlist…

[Video]
[4.17]

Leonel Manzanares de la Rosa: Latin trap still needs a little more time to develop a stronger musical identity to differentiate itself from the main American style, and brand shout-outs are not gonna cut it. Still, Ozuna’s paper-thin voice feels quite pleasant along with the reverbed chimes in the beat, but the biggest seller here is Ele A El Dominio’s heavily-accented, low, raunchy tone. It gives you some serious Tego Calderón vibes for a while, which is never a bad thing. 
[6]

Nortey Dowuona: Steel synths shine as bland, flat drums rattle across the desert. Ozuna whines across it, irritatingy, while Ele A El Dominio tries to warn him to stay in the reggaeton oasis with his droning, dying breaths. Ozuna continues undeterred.
[1]

Iain Mew: The crystal cave of a beat is thoroughly wasted when nothing else has the same clarity or shine or even contrasts with it strongly. 
[4]

Jonathan Bogart: A cataclysmic development for pop in the back half of the 2010s has been the discovery by streaming services, and the artists who have made careers gaming them, that listeners don’t actually want differentiated songs with bold dynamics or interesting structures that would draw attention to any particular song in itself. Instead, they want an endless river of samey midtempo moaning, wailing, growling, or mumbling (depending on the playlist) as a backdrop to living lives with attention focused elsewhere. Which isn’t Ozuna’s fault: mano’s filling a market gap, get the money. At least Ele A El Dominio’s verse creates some actual tension, however briefly, before it dissipates into the endless high-hat of the trap beat.
[4]

Alfred Soto: It uses space in a way suggesting a marriage of trap and garage, unworthy of the lethargic delivery.
[4]

Katherine St Asaph: Two vocalists well-played off one another and the just-this-side-of-chiptune beat; pleasant, but not much more.
[6]