“Reggaeton went dormant for a long time, ” he proceeded. “It had been required to make trap music, since it felt like reggaeton was stuck an additional age. ” a student that is self-described of late and oft-controversial Tupac Shakur, Anuel thought reggaeton had reached its peak and thought Latin trap is its successor.

Songs like “Nunca Sapo, ” where Anuel networks Rick Ross’ Teflon Don ethos and spits a grimy flow that is slow-tempo a sinister 808-laden instrumental, helped place a face to Anuel’s little-known name in america. On cuts like Farruko’s “Liberace, ” Anuel boosts their distribution for enjoyable and performs in the “Versace” rhythm popularized by Migos, whom all hail from Atlanta—the commonly credited birthplace of trap music. Continue reading