The Weekly Coos

Despite Rauw Alejandro’s infidelity and eventual break up with Rosalia feeling one-sided, especially when their collab EP lost its luster due to how focused it was on their relationship and engagement, he still finds ways to reel you back in with heaters. Surprisingly, those heaters come in sounds influenced by Salsa, Merengue, Bolero, and Jazz; it’s almost like he retained a lot with his growth as an artist, specifically tackling these influences in ways that benefit each other. This new album is called Cosa Nuestra, mirroring the Willie Colon album of the same name; the sounds offer a view into the culture, one that specifically fought the norms and combined some of the best elements from varying genres into something fantastical. It was a cultural movement, in which reggaeton, and Latin music as a whole, is now a significant cornerstone in the pop zeitgeist today. However that isn’t all what Cosa Nuestra is; Rauw Alejandro is facing his emotions, especially after the public breakup between him and Rosalia. Despite some turbulence from a few tracks that dip in quality, Rauw does so at his own pace, with his own identity to deliver another solid album.

Opening with the title track, “Cosa Nostra,” Rauw Alejandro surprises you with its 180 spins from his more pop-driven records of the past, like the never-ending dance party on Saturno. Though Rauw Alejandro isn’t escaping much of his musical routes with the reggaeton, the transitions into them express growth; unfortunately, the reggaeton/Latin Trap productions don’t have as much sizzle as those that fight the norm or reflect nostalgia. The idea is clean and effective to a fault, wherein you can get more misses than hits with them, as opposed to different textures you’d hear on tracks like the title song or “Se Fue,” which carries a powerful duet alongside Laura Pausini. The highs are significant and pop out beautifully; the lows are the same, if not more pronounced than Alejandro’s first pivot into mediocrity with the Pharrell co-produced/collaboration in “Committed.” It has a fantastic and intangible beat that beautifully radiates Salsa’s tropical nature, but the delivery of the lyrics outside the melody isn’t as potent. This unique rollercoaster ride wants to be better since one expects bangers from him but whiffs with certain decisions, like retreading similar disco beats as before with “Touching the Sky.”

Rauw Alejandro isn’t without his producers. Many help him realize his vision that wanes between fantastical bangers and underwhelming mediocrity. There isn’t some centralized zone where the weak moments sweat, but rather in different beats throughout the tracklist as you listen. “Qué Pasaría…” with Bad Bunny isn’t as potent of a track, feeling more like something that fits Bad Bunny’s sensibilities, and out of place in this scheme, despite being fine. “Il Capo” isn’t much different; it’s a simple Latin Trap beat that doesn’t go beyond the means to make something that pops. His producers give us some fantastic beats; nevertheless, it doesn’t stop the disappointment one gets when one hears that final track to close the album. After a great Latin pop-rock performance with Latin Mafia, “2:12 AM,” the hokiness of the lyrics of “SEXXXMACHINE” ruins what could have been a good one-two punch as the synth-pop production becomes washed by an appendage that could have been fixed. It makes the journey more of a rollercoaster ride especially as there isn’t some abrupt drop, but rather more loops that aren’t equally as fun as the others. Fortunately, it makes the positives pop out significantly more, especially his non-reggaeton/trap beats.

There are so many repeatable tracks on Cosa Nuestra that these lows can become afterthoughts in the grand scheme. Tracks like “Tú Con Él,” “Mil Mujeres,” and “Pasaporte” are three that stood the test and came out on top, alongside some other fantastic moments, like the nostalgic reggaeton of “Baja Pa’ Acá.” But as potent as these tunes can be, whether, through their Salsa, Bolero, or Merengue influences, there is only so much that can keep it afloat, like the solid. Latin EDM track “Pasaporte,” where Rauw Alejandro shines above. He benefits from production matching his strengths and many features giving him something that balances the tones he sets, like how the charming performance of “Khé?” is from Alejandro while Romeo Santos tempers it with his sensualness. Rauw’s writing brings a much-needed depth to give this album a bigger punch, especially as he hones in more on himself instead of a life he has through tinted glasses. Rauw reflects on how he can’t see himself clearly through his goofs, questioning where he could love again and more like in “No Me Conozco” and “Amar De Nuevo.” It brings much to the table considering some of its unevenness.

Though I sound somewhat trepidatious due to the rollercoaster ride I wrote out for you with the positives and negatives, the positives are overwhelming. It might make you forget the bad, but really there is something here that sounds like Rauw is pushing himself to be something grander than just reggaeton and EDM-Latin Pop, and it’s greatly admired, especially since the nostalgia hits hard. There is nothing like opening the album and hearing the horns from “Que Lio” get sampled to such tremendous effect. I recommend it greatly, even for the curious fans who have loved the different output of past albums.