The Weekly Coos

Following a momentous and underrated headlining performance at Lollapalooza, Karol G returns with Bichota Season, a Side-B of sorts to Mañana Sera Bonito. Bichota Season is the antithesis to the lighter textures we got with her album back in February, especially as it gives us more nightclub bangers to whisk you through the latter of 2023. The first album had more summery and smoother grooves, while Bichota Season shifts the tone by hitting the harmer harder, creating more nighttime tunes perfect to end El Verano Del Perreo. It keeps its core reggaeton base, and by bridging producers Edge & Ovy on the Drums, it eases the differences, especially on the drums where songs blend to fit a setting, “UNA NOCHE EN MEDELLÍN (REMIX)” is more night and “Ojos Ferrari” is more outdoorsy party-like, infusing more drums unlike the latter, which has more synths, and glamor over the drum machine’s patterns, and making it a crisper vibe to indulge in. These night and day vibes aren’t absolute, as both albums have a considerable presence with each vibe, especially with how one merits it; however, Bichota Season delivers bangers with minor hiccups along the way.

Though the vibe is essential to the connectivity between instruments, in many cases, it isn’t always so, and sometimes they work around to dignify how productions can get read. For reggaeton, it imbues its presence frequently as you have artists who tread familiar territory and aren’t always as interpersonal, like the historical context hidden beneath the lyrics and production from an artist like Bad Bunny. But I’m not someone to think everyone has to follow the model set by songs like “El Apagon” or when Voltio used club synths and heavy bass in “Chulin Culin Chunfly” to bridge elements of southern rap with reggaeton and create this fantastic beat for him and Three 6 Mafia to rap over. Even Tainy, who on his recent album brought elements from here, there, and beyond, enveloping songs with unique coatings, like the 80s Synth-Pop notes of “Mojabi Ghost.” But Karol G keeps it close by bringing a modern flare to the classic folk influences on “MI EX TENÍA RAZÓN;” it helps establish a proper delineation that gives a sense of culture that oozes beyond the club flair, and on its own, it rocks, and here, it doesn’t feel as connected to the rest.

Additionally, it’s hard to quantify meaning between night and day vibes, as the vibe can turn into something more interpersonal, as opposed to the objectivity of the summer smash, “Big Pimpin” by Jay-Z and UGK. Yet sometimes you’ll hear when it might fit best, like how “Ojos Ferrari” or “Tus Gafitas” use its surroundings, as well as playing with tempos, adds value to its presence, as opposed to something like “Kármika,” where the Sean Paul feature and Bad Gyal feature allow it to fit at any time of day. With both albums, there are slower songs or more intimate moments like “MI EX TENÍA RAZÓN” or “S91,” where the danceable vibes shine throughout the dance floor like “Gucci Los Paños,” specifically in the former, where it stays close to the vocal sonic textures of later tracks like “GAITITA GANGSTER.” Yet, as much as one can love this album, and I do, I do shed some disappointment when nothing truly matches the quality of the first four songs, especially with the sounds it incorporates, like the luscious guitar strings of “S91” adds definition while balancing tempos, especially on “Me Tengo Que Ir,” where Kali Uchis’ R&B like vocals don’t fit the island vibe from the beat.

For Bichota Season, there is so much great work that it falters at song-top-song transitions. Though many times it’s smooth with directional cadence and focus, these minor bumps come from the unique choices and inflections of some songs. The pattern switches from more tempered jams to more outlandish and outspoken virtuosity throughout but misses more in the middle. Going into the album for the first time, I began expecting something more in the vein of “BichotaG,” where we first hear Karol G rap, and not the only time – like when SZA did so on SOS, this equally was as refreshing – it’s stagnant construction leaves it to be less desirable as a whole, so when you’re picking out most of the songs individually, there are many great ones, like “MI EX TENÍA RAZÓN” or the final track, the Tiësto Remix to “Provenza.” Unlike “MI EX TENÍA RAZÓN,” “ME TENGO QUE IR” and “QLONA” have fantastic qualities in their own right, but “QLONA” feels the most present as it doesn’t incorporate depth with its production. It has grand performances and writing, especially when it synchronizes into something memorable, which one can say similarly for parts of “ME TENGO QUE IR;” it’s just that Kali Uchis doesn’t WOW.

Like Karol G’s performance, most features hit. As I’ve noted, I’m not particularly fond of the collab with Kali Uchis, as it lacks synergy, and Uchis doesn’t expand on her vocals, making the feature forgettable. It’s the same with the remix to “Provenza;” it’s another typical Tiësto remix, carrying over his signature synths and drops, especially in the instrumental bridge. Sometimes I prefer it simple, but this Tiësto remix has nothing of merit worth reflecting on despite turning the summery, smooth, and esoteric greatness of the first one into something more mundane with weak club textures. Unlike Tiësto, most of the production excels; for someone entrenched within the culture and genre like myself, Sky Rompiendo, along with Taika and Ovy on the Drums, brings it with these excellent sounds that work no matter the direction taken from Karol G, as in, whether she raps or sings. Not as good as “QLONA,” which sounds like it does the bare minimum compared to the beautiful nostalgia and nuance of “MI EX TENÍA RAZÓN,” produced by Edge & MAG (Bad Bunny producer). Yet, despite these fluctuating issues, the one big plus is that Karol G delivered a 30-minute album that doesn’t overstay its welcome.

Bichota Season is one fantastic and quick ride that never feels swift or overlong, and as you let it come to a close, the reward is grand. It’s even more so hearing how the wheels never stop churning, and the Lollapalooza headliner is just the beginning. Karol has found her center and explores it exponentially – more so when reflecting on the differences between the two albums. It has flaws, and some aren’t all that distracting, but it isn’t enough for me to turn my back on it; I loved Bichota Season and will be playing many tracks on repeat.