Come on. Oh, Ma Ma ma.

Hi, everyone. Dothony Dotano here, the internet's busiest music nerd. And it's time for a review of this new Bad Bunny album, DeBÍ TiRAR MáS FOToS.

Here we have the latest full length album from rapper singer songwriter Puerto Rico's own Bad Bunny. A prolific artist who has had a pretty meteoric rise since the release of his breakout debut album Por Siempre. That was back in 2018, where Bad Bunny was in the midst of some pretty humble beginnings when you think about it, because at the time he was more or less just another face in this just massive wave at the time of Latin trap artists, the vast majority of which haven't even had a quarter of the staying power he has, and I would attribute a great deal of that to his ability to change with the times and also pave his own way creatively. It was clear that Bad Bunny wasn't merely content with staying in his lane.

By the time that we got Yo Hago Lo Que Me Da La Gana – that was back in 2020, and this record, for the most part, felt like an epic, Travis Scott style psychedelic elevation of a lot of the Latin trap and reggaeton Bad Bunny was known to mess with at that time, but with 2022 Un Verano Sin Ti, Bad Bunny wasn't just following trends, he was the trend and setting records with one of the biggest LPs of the year. Apparently, this thing was the second all-Spanish album to ever go number one. And in terms of makeup, this record is truly a product of its era because it actually succeeded at the often attempted unsuccessfully approach of pretty much packing the tracklist with a little bit of something for everyone, and the end result was that everyone actually listened to it, as Bad Bunny not only brought a colorful revamp of his usual mix of reggaeton and Latin trap, but on the many tracks of this record, he also dabbled in reggae club anthems, some summer indie laptop pop, as well as some vibrant horn sections too.

Now, sadly, his next record, which also followed a similar mixed bag formula, wasn't nearly as creative or as interesting, but with MaS FOToS, Bad Bunny actually reacts to that slightly underwhelming response in a commendable way.

Because these days I feel like all too often a lot of mainstream artists are more or less inclined to just go the course of whatever the sound of their previous record was, even if they are kind of boring fans to death with the new stuff. You know, just so long as they're doing the streaming numbers and getting the chart positions they desire. Because while, broadly, Pasar Mañana may not have done the same huge numbers that Un Verano did out of the gate, it's still a number one album. Nothing to scoff at for sure.

But again, in a really admirable switch up, MaS FOToS actually manages to be Bad Bunny's most authentic and musically in touch record to date. Immediately on this record, as we hit the hit the first track, it is clear that Bad Bunny is not just trying to give us something new and trendy and contemporary, but rather more get in touch with the musical traditions of Puerto Rico. As we are hit with huge vocal and horn samples from El Gran Combo de Puerto Rico, whose sharp salsa playing is incorporated throughout, this track's driving kicks, howling sirens and hype flows from Bad Bunny himself.

The record really starts firing on all cylinders, and the momentum continues onto the second track, where, sure, stylistically, I think things head back into more familiar reggaeton territory for Bad Bunny, but this is easily one of the hardest cuts he's made in this genre so far, with stuttering synth leads, and Bad Bunny is really howling vocally through that autotune. He sounds hungry as hell on this track, as he describes the story of meeting a woman who he wants to take to Puerto Rico to show her a good time. It's clear throughout this record that he associates his homeland with bliss and joy, and just generally a good time, positive vibes and memories, and somehow the stakes are raised even higher emotionally and musically.

On the following "Baile Inolvidable" where we get hit with this just grand, massive, horn kissed intro that is like Kanye "All of the Lights" levels of epic. And after this we just transition into more killer salsa grooves. The vocals are refreshingly raw on this one, which are not simply brought by a sample, but a live band with a jazzy piano solo to boot too. This is also the lengthiest track on the record. It's just clear that Bad Bunny is going all out for this track that is essentially about a woman who he just can't forget.

On the next couple of tracks from the record, we have some vocal chemistry and crossovers with the likes of RaiNao, as well as Chuwi, the former of which brings a bit of a, you know, romantic, back and forth, sensual, sexual, intense narrative. The track "Velda" has a super digital sound to it, though I suppose that is kind of fitting considering how much of the track is about like flirting with women on the on the internet and it's okay as a concept... I feel like what holds it down is that it has a few of the least impressive vocal features on the entire record. "El Club" also certainly lives up to its name, but I feel like Bad Bunny has made better music specifically for this setting on past records, though there is an interesting lyrical angle on this track with Bad Bunny. With all the partying not being able to forget about an ex of his, which yeah, I suppose that's always the way.

But broadly, this record is steeped deeply in very sad feelings of nostalgia. Bad Bunny consistently missing moments and people from his past and wishing he appreciated them when he had them. I mean, he does even make mention of stalking an ex of his on social media around this point.

Musically, I feel like there are several different tracks that, production wise, are a bit milder and less interesting than what surrounds them on the rest of the record. Very synthy reggaeton cuts that more or less feel very part of the chorus for Bad Bunny at this point. But "Bokete", by contrast, does bring some genuinely heartbreaking moments, especially on the vocal front, with some cavernous synthesizers too that feel almost Mike Dean inspired. Bad Bunny's vocals are also soaring on this track.

"Turista" also features very low key, intimate production that makes for one of Bad Bunny's best slow burners ever, and I love that the big band instrumentation and group vocals make a return on "Café Con Ron", and shout out to Los Pleneros de la Cresta for helping bring that to the table. They also had a fine album drop last year that I'm needing to catch up on too.

From here we move into a pretty strong finish for the record, which kicks off with "Lo Que Le Pasó a Hawaii". As Bad Bunny laments for those who have had to leave their home country wherever they originate from for personal reasons, political reasons, maybe better opportunities. He makes a comparison to Hawaii and sort of fears Puerto Rico going down the same road of becoming essentially like a glorified tourist destination, that is kind of suffering from this global gentrification at the hands of America, losing its personality, its culture, its people.

We have a very moving title track on the record as well, which, again, kind of brings home a lot of the record's themes about making memories through taking photos and trying to enjoy the good times that you have with those who you love while you have them.

And then on the closing track, massive salsa vibes return once again for a moment that honestly is very celebratory and has a great sense of finality to it.

But yeah, it was very pleasantly surprised by this Bad Bunny album, especially considering just how weak the last record was. I did not foresee him coming out swinging on this new record over here and giving us an album that I feel like has a lot to say personally and aesthetically. I mean, after all, this record lyrically is very much about loss and heartache and just big, massive, embarrassing romantic failures. And instrumentally, it's just a killer ode to a lot of the music of Puerto Rico, incorporating it into very interesting and fresh production that feels punchy and contemporary and brings all of these old school sounds into it in a very tasteful way that feels like just an homage.

Bad Bunny smashed it on this one. I mean, I didn't think he was going to drop a better record than Yo Hago, honestly. And he somehow did it on this LP. He really outdid himself. There are for sure some tracks around the middle that I think are just okay, but I still came away from this record feeling a light to decent 8 on it.

Anthony Fantano. Bad Bunny. Forever.