The opening monitor of Dangerous Bunny’s sixth studio album, “Debí Tirar Más Fotos,” which was launched on Jan. 5, does not start in the way in which many people have come to anticipate typical reggaetón songs to start out. There aren’t any heavy synths underlining the intro, no plucky “wite” melody (how Puerto Ricans confer with the enduring melody sampled from Jamaica’s “Bam Bam” riddim), and no pounding dembow bassline. As a substitute, “Nuevayol” opens with a pattern from the salsa basic “Un Verano En Nueva York” by El Gran Combo, the primary signal we’re in for one thing totally different. And by the point the album’s 17 tracks are by, we have been taken on a tour by Puerto Rico’s wealthy musical historical past. That is Dangerous Bunny’s most Puerto Rican and emotionally weak album but, the place he makes use of the island’s musical soundscape as a canvas to touch upon its many sociopolitical points whereas cultivating the musical terroir of Puerto Rico’s future.

“Debí Tirar Más Fotos,” which interprets to “I ought to’ve taken extra pictures,” comes at a vital time for Puerto Ricans, each on the island and all through the diaspora. With the identical administration that has helped lead the island into corruption and decay about to take workplace but once more, there isn’t any assure that our traditions or lifestyle will not be straight impacted. Such is the march of time, and the affect of over 500 years of colonization can’t be understated.

Dangerous Bunny, born Benito Antonio Martínez, appears to grasp this higher than most. The album is framed loosely by the concept of the singer coming into the brand new yr alone, reflecting on a misplaced love, which may simply correlate to the lack of company, sleep, and a promising future many Puerto Ricans are grappling with. Our seashores are slowly being poisoned. Our lands are being offered to crypto billionaires. And our lights nonetheless will not keep the fuck on.

Given these circumstances, it is not arduous to see how the nostalgia of the previous can function an escape. However Martínez, whereas his character is likely to be consuming pitorro and reminiscing about an ex, is not getting misplaced in nostalgia. He is utilizing it to bridge the hole between the island’s previous and its future. Whereas the opening monitor begins with a salsa pattern, which shouts out Puerto Rican legends like salsero Willie Colón and the proprietor of the final standing Puerto Rican social membership in NYC, Maria Antonia Cay (often known as Toñita), the second tune on the album, “Baile Inolvidable,” sees Martínez harmonizing in his typical urbano cadence over the horns, keys, and typical salsa orchestration supplied by Libre de Musica San Juan. That is adopted by tracks borrowed from much less business genres, similar to bomba y plena, música jíbara, and bachata. Nevertheless, whereas the sonic panorama of “DTMF” owes a lot to the island’s previous, the voices it options are primed to form the island’s musical custom for years to come back.

Puerto Rico’s subsequent large factor, RaiNao, is featured on the monitor “Perfumito Nuevo,” an attractive, upbeat reggaetón quantity with pulsing, alternating dembow rhythms which can be good for a day-trip throughout Puerto Rico’s sunbaked carreteras. The very subsequent monitor, “Weltito,” calls in help from up-and-coming Latin jazz, tropical fusion quartet Chuwi.

Martínez is likely to be a once-in-a-generation famous person, however he is all the time understood that he’s a part of an even bigger musical custom, one that features greats like Hector Lavoe, Andres Jimenez, Olga Tanon, Massive Pun, Tego Calderon, and plenty of extra. And with that comes a sure duty. Martínez is aware of that any artist he options might be springboarded into the highlight, and he makes use of his platform accordingly to make sure that the custom continues lengthy after he is gone.

There’s been a “current again to the roots” motion sweeping throughout the underground scene in PR, with new artists experimenting with extra conventional sounds, which the artists featured on the album, together with Chuwi, Rainao, Omar Courtz, and Dei V are all part of. Even Rauw Alejandro stepped as much as embrace a extra basic model and pay homage to the diaspora on his final album with a canopy of ‘Tú Con El” by Frankie Ruiz. So it is no shock that after “nadie sabe lo que vas a pasar mañana,” the entice masterclass that was his final album, Martínez’s newest undertaking would have him stepping into a extra eclectic path and utilizing his platform to assist push the island’s sound in that path.

However in some ways, Dangerous Bunny can be form of an anti-superstar. Whereas being a pop star typically means buying and selling in a extra cultivated sound for one thing that appeals to the lots, Martínez has performed the alternative. The extra his fame has grown, the extra his musical trajectory has diverged from typical pop stardom, main him down the trail of auteur and activist just like hip hop artist and rapper Kendrick Lamar. Equally, as his fame has grown, his albums have grow to be much less accessible and extra insular. “DTMF” just isn’t an album that caters to exterior audiences. It isn’t meant to attraction to vacationers, one thing the artist touches on within the monitor “Turista,” a cautionary story about falling in love with the superficial however being unwilling to simply accept or reside with an individual’s or, on this case, a spot’s imperfections.

However perhaps probably the most impactful monitor on the disc is “Lo Que Le Paso a Hawaii.” On it, Dangerous Bunny examines the similarities between Hawaii and Puerto Rico, how each have been made U.S. territories in 1898 and the way the transition from colony to statehood has served the American pursuits whereas elevating the price of dwelling and marginalizing native Hawaiians. It’s an eerily related parallel to what Martínez sees occurring immediately in Puerto Rico: the inflow of American ex-pats, the gentrification of cultural facilities, and the federal government’s push for statehood. It is no marvel the artist was dropped at tears on a current go to to San Juan. The album is stuffed with bittersweet sentiments like these.

If “Un Verano Sin Ti” was a love letter to Caribbean tradition (Spanish and non-Spanish talking alike), and “nadie sabe lo que va a pasar mañana” was an homage to the road lifetime of Puerto Rico, then “DTMF” is a celebration of who we’re as individuals, a testomony to our grit, and our contribution to music as entire. Certain, the normal genres are properly represented right here, however there are additionally touches of home and spoken phrase, which remind us of the roles we have performed in elevating these arts.

Martínez is wielding nostalgia as a weapon right here, taking purpose at those that would see us pushed off our lands and erased from historical past, and he is doing it in probably the most Puerto Rican of the way: by making noise. And within the course of, he is absolutely come into his personal as an artist and visionary. And that imaginative and prescient places his island and his individuals entrance and middle in every thing he does. As he says on certainly one of my favourite tracks from the album “EoO”: “You are listening to Puerto Rican music. We grew up listening to and singing this. Within the initiatives, within the hoods. Because the 90s, the 2000s till eternally.”

Miguel Machado is a journalist with experience within the intersection of Latine id and tradition. He does every thing from unique interviews with Latin music artists to opinion items on points which can be related to the neighborhood, private essays tied to his Latinidad, and thought items and options regarding Puerto Rico and Puerto Rican tradition.