The Weekly Coos

When Feid dropped his last album, there was no denying that I was heavily favorable if not quite loving it, and that’s because he knows how to keep it fun without having an overreliance on being something he’s not. In reggaeton, the content is usually never that deep with the content or themes while waning between deliveries – rappers and singers do it differently, though it falls predominantly on flow – as you have heard with others, there’s an embodiment relative to the atmospheric textures it takes influence like the electronic music sphere or some crisp afro beats mellowed through summery vibes and comparatively minimalist reggaeton. Much of this has been set in stone by Feid, with many singles predating the release of an album, offering up plate after plate, week after week, and making fans aware of the heat that is about to drop. It’s safe to say that his new album, MOR, No Le Temas a La Oscuridad, is that, even when it trots around some milder reggaeton sounds to keep its party flows at the top of the heap; however, it’s his slight pivots towards other sonic structures are the truer highlights here.

MOR, No Le Temas a La Oscuridad opens on a fantastic high note; Feid cruises through the first track post intro – a mesmerizingly exquisite afrobeat foundation and buoying reggaeton stylist elements overhead, finding unique ways to maneuver. Unfortunately, that creative fluidity isn’t everywhere as Feid returns to the sensualization flavors of the plain Reggaeton flair; you get some quality orchestrations through mundane additives, but it doesn’t have the lasting power of “Vente Conmigo,” “Niña Bonita,” and “Luces De Tecno.” Each song has a different core elevating it, with the former two being afrobeat and a luscious and subdued dancehall-reggaeton mix, respectively, one that allows Sean Paul to shine graciously without having to overtake the rhythm. Some might find his performance not up to the glitz and grandeur we’ve come to expect from Sean Paul, yet when he treads toward more tempting connectivity, it becomes more of a surprise; it’s a beautiful contrast to Feid’s more angelic vocals, which adds smoother layers to the dancehall-reggaeton blend. And there are more great songs that see Feid exploring different sounds, even when reggaeton has an overwhelming presence.

“Luces De Tecno” is one of my favorite jams off MOR, No Le Temas a La Oscuridad, alongside “Privilegios” and “Bubalu,” the latter of which feature Cupido and Rema, respectively. “Luces De Tecno” is simple and doesn’t try to play up to the overly colorful tendencies of EDM/Techno and allow it to assimilate to the reggaeton-like melodies, as the synthesizers and percussion play coy with each other, never wanting to overstep and become this overpowering force. “Bubalu” has production that acts sheepish in trying to have a strong hold over the vocals, becoming a slight balancing board for Feid and co-producers to establish a well-rounded core for smooth tug-and-pull delivery. “Privilegios” combines some alt-rock, reggaeton, and rap uniquely, ending the album on a high note, specifically through the in-song transitions. It’s something that gets heard rarely through the reggaeton sections; unfortunately, the rare ones, like “Ferxxo 151,” fall through the cracks of the better elements at work, like wonderfully direct and linear “Bubalu, which does well to stay minimalistic except when it wants to add some flair to aspects of the performances, like when the percussion gets elevated for the chorus of the song.

Some songs don’t work within the confines of the album’s trajectory, and it becomes apparent, given most of them are weaker reggaeton songs, which occasionally tread familiar territory. In this case, that’s all fine, mainly because not all artists bring burgeoning lyrical depth, allowing the production and vocal performances to speak for it. Many of these songs aren’t the most potent, incorporating more minimalist textures so it won’t forget where the power dynamics lie. That isn’t to say these songs aren’t good, but there comes a time when even the percussion can’t keep you on your toes or moving with the ones and twos, as the vocals are lackluster. It becomes a disappointment, mainly when Feid or the featured artist aren’t elevating their respective songs ten-fold or even a bit. Sometimes, that minimalism will work like with “GANGSTERS Y PISTOLAS,” “EY CHORY,” or “ROMÁNTICOS DE LUNES,” where each song is either effective with its minimalist choices or amplifying itself with instrumental layers, whether from the drums or the synths. “ROMÁNTICOS DE LUNES” stands out more, even when simplifying the 80s aesthetic on the synths; at least the final product is memorable compared to something like “FERXXO EDITION.”

MOR, No Le Temas a La Oscuridad isn’t top-heavy with features and is more balanced. Many of them are great, like Rema on “Bubalu” and Ñengo Flow on “GANGSTERS Y PISTOLAS,” but the one that doesn’t hit is Ryan Castro on “Ritmo De Medallo,” which does little to elevate past simplicity. Compared to others, it’s forgettable, and Feid’s energy is lacking on some of these. It feels like Feid is complacent about delivering with more energy on some of these songs. It could have done more to balance out the predominant calm demeanor in so many of the songs. Ultimately, the album is fine and, in some ways, a down-pivot from his last album as the energy doesn’t match, and the summery island vibes work best when he isn’t streamlining reggaeton that lacks some sazón. I did enjoy enough of the album to warrant a listen, and I know I may have been more positive on the Rauw album, but I had more fun with that than this, despite the fantastic rhythms of “Bubalu.”