Musical Over Dose
is proud to present
Since January 2002
another new release, have fun
.: about release :.
Name .:. bad bunny - Un Verano Sin Ti
Genre : Latin
Source : CDDA
Type .:. Album
Artist : bad bunny
Label : Rimas Entertainment (Membran)
Titel : Un Verano Sin Ti
Tracks : 23
Playtime : CD1: 39:17 / CD2: 42:35
Size : 152,82MB
Encoder : VBRNEW - LAME3.100 - V0
Quality : VBR kbps / 44.1kHz / Joint-Stereo
Bitrate : avg. 260kbps
[ Tracklist ]
cd1
01.Moscow Mule 04:06
02.Despues de la Playa 03:50
03.Me Porto Bonito feat. Chencho Corleone 02:59
04.Titi Me Pregunto 04:04
05.Un Ratito 02:57
06.Yo No Soy Celoso 03:51
07.Tarot feat. Jhay Cortez 03:58
08.Neverita 02:53
09.La Corriente feat. Tony Dize 03:18
10.Efecto 03:33
11.Party feat. Alejandro 03:48
cd2
01.Aguacero 03:31
02.Ensename a Bailar 02:56
03.Ojitos Lindos feat. Bomba Estereo 04:18
04.Dos Mil 16 03:29
05.El Apagon 03:22
06.Otro Atardecer feat. The Marias 04:04
07.Un Coco 03:16
08.Andrea feat. Buscabulla 05:40
09.Me Fui de Vacaciones 03:01
10.Un Verano Sin Ti 02:28
11.Agosto 02:19
12.Callaita feat. Tainy 04:11
Total 81:52 Min
Bad Bunny moves with intention. Quickly after
releasing Un Verano Sin Ti, he made stops that
reflect two major themes of the album. The first was
a cute, intimate celebration at the last Puerto
Rican social club remaining in Williamsburg,
Brooklyn: the Caribbean Social Club (also known as
ôTonitaÆsö after one of its owners, Maria Antonia
Cay). As one of the most regarded Latinx-owned bars
to survive the areaÆs gentrification while also
preserving Boricua history, its existence symbolizes
resistance. The day after, he appeared in the Bronx
to record a music video for one of the albumÆs
highlights, the upbeat hip-hop dembow fusion ôTiti
Me Pregunto.ö Sporting a T-shirt honoring bachata
legend Anthony Santosùwhose ôNo Te Puedo Olvidarö is
sampled at the beginning of the trackùhe was seen
turning up with Dominican youth, taking part in the
street revelery known simply as teteo. This
release-week schedule reflects two of Un Verano Sin
TiÆs animating forces: BenitoÆs bori pride and
appreciation of Dominican culture.
Recorded in his native island of Puerto Rico and the
Dominican Republic, Un Verano Sin Ti is a cohesively
packaged voyage through the various sounds
synonymous with the Caribbean regionùreggaeton,
reggae, bomba, Dominican dembow, Dominican mambo,
and bachata, among others. The albumÆs 23 tracks are
conceptualized through an A side and B side scheme
that separates high-energy party and fun sonidos
from tranquility and conscious thinking. Its
enticing musical patchwork further lures listeners
into El ConejoÆs universe of experimental
arrangements, sharp and nostalgic synths, and
unexpected genre fusions. ItÆs a loving ode to
Caribbean culture that embraces marginalized scenes
within Latin America, from the ostracization of
Black-rooted genres like bachata, dembow, and mambo
to the criminalization of reggaeton.
https://badbunny.pro
Since his early Latin-trap beginnings (which he nods
to here on ôDos Mil 16ö), Bad BunnyÆs adventurous
tastes have catapulted him to become one of the most
prolific global tastemakers. That versatility,
paired with impeccable delivery, wordplay, and
lyricism, has permitted him to exist creatively in a
way no one else in Latin music, specifically within
El Movimientoùto push the boundaries of gender
conformity and fashion, for example, while
simultaneously branching out to wrestling and
acting. His range is represented throughout his
discography, which spans pop-punk-meets-trap tracks
like ôTenemos Que Hablarö (from 2019Æs X 100PRE),
ôHablamos Mananaö (2020Æs YHLQMDLG), and ôYo Visto
Asiö (El ┌ltimo Tour Del Mundo, his second album of
2020 and the first all Spanish-language album to hit
No. 1 on the Billboard 200). As heÆs gone on to
become SpotifyÆs most-streamed artist two years in a
row, Bad Bunny has set records never before seen in
the industry. Yet, despite all the accolades and
fame, Benito Antonio Martinez Ocasio can still be
found in a narrow, Puerto Rican-owned bar in
Brooklyn.
In this tiny, symbolic bar in New York City, he
celebrated another muse for the project: the
vacations he spent on the west coast of Puerto Rico
as a kid. The albumÆs gratifying transitions
illustrate a summer in el caribeùwhat it feels like
to be on those beaches, the colloquial phrases and
dialects of the Spanish-language Caribbean. The
sound of seagulls in the track-to-track transition
between ôAgostoö and ôCallaitaö perfectly evokes the
texture and atmosphere of the beach. With dazzling
eclecticism, Bad Bunny touches on nu-disco,
psychedelia, electro-pop, and house on reggaeton-
based songs like ôPartyö with Rauw Alejandro,
ôTarotö featuring Jhay Cortez, and one of its most
political tracks, ôEl Apagon.ö The second half
brings a wealth of unexpected collaborations: On
ôOjitos Lindosö and ôOtro Atardecer,ö respectively,
Colombian cumbia-electro group Bomba Estereo and
indie-pop band the Marias adapt seamlessly into the
projectÆs world.
The B-side also serves as a melodic discourse on
Puerto Rican livelihood. Puerto Rican duo Buscabulla
joins for ôAndrea,ö an indie-pop song that touches
on femicide and gender violence. ôEl Apagonö (ôThe
Blackoutö) is a middle finger to those privatizing
the islandÆs electrical grid and beaches, furthering
the displacement and gentrification of communities
in Puerto Rico, the worldÆs oldest colony. ôQue se
vayan ellos/Lo que me pertenece a mi/Se lo quedan
ellosö (Let them go/What belongs to me/TheyÆll keep
it for themselves), sings Bad BunnyÆs girlfriend,
Gabriela Berlingeri, in the outro. ôEsta es mi
tierraö (This is my land). The songÆs beginning
rhythm is the pulse of bomba, a genre birthed by
enslaved Africans to preserve tradition that today
symbolizes resistance and liberation.
The truth is: perreo, whining the waist, and shaking
ass are all forms of protest and expression, and
activated equally throughout the album. While the
B-side feels designed for whining down and deep
thinking, the A-side sets the tone for teteos,
cookouts, and beach parties, keeping reggaeton
culture at the forefront with appearances from
native legends like Tony Dize on ôLa Corrienteö and
Plan BÆs Chencho Corleone on ôMe Porto Bonito.ö A
major part of the production influences belong to
the Dominican Republic, though actual Dominican
artists are conspicuously absent. ôDespues de la
Playa,ö which opens with synths that transition to a
Dominican mambo a little over a minute in, is one of
the only songs to credit a Dominican artist by name:
Against a foundation of guira, tambora, and piano,
you hear, ôIÆm here with el Apechaoöùa reference to
Dahian el Apechao, an instrumentalist, singer, and
composer with an impressive history of collaboration
with mambo and reggaeton artists alike. ?The lack of
visible representation for more Black Dominican
artists on an album so indebted to their influence
feels like a missed opportunity.
What it means to properly appreciate culture runs
deep, especially when youÆre a global phenomenon
with omnivorous tastes and a vast audience, and Bad
Bunny has space to continue learning. Since the
mid-2010s, heÆs introduced and defined trends for El
Movimiento in both music and fashion. Every album
rollout brings a fresh aesthetic: From intricate
hair designs and brightly colored short-shorts to
skirts and punk leathers to the beach-ready boonie
hats of Un Verano Sin Ti, heÆs constantly evolving.
As he did with Æ80s synths, romantiqueo (pop
reggaeton centered on heartache and love), and emo
lyricism, this album sets the blueprint for whatÆs
next and the message is clear: The Caribbean
deserves its flowers and will continue to claim
space. Bad BunnyÆs diasporic summer playlist is the
sound of a world preparing for positive healing and
joy.