Ozuna knows how to craft a hit. His wildly successful 2017 debut album, Odisea, spent 30 weeks atop the Billboard Latin Albums chart, breaking Luis Miguel's record for the longest-running No. 1 album by a male artist in the chart's history, standing second only to Gloria Estefan's Mi Tierra. But since being discovered by manager Vicente Saavedra, the Puerto Rican superstar has been on the path of airwave domination, building his name with blockbuster crossovers and a meticulous cocktail of reggaetón, pop, Latin trap and dancehall. Odisea delivered on the promise of its name, which translates to odyssey, stacking the tracklist with epic, shimmering perreo and a star-studded guest list that has stood the test of time. Describing the album’s third single, “Dile Que Tú Me Quieres”, as inescapable might be an understatement, as Ozuna's soaring, devilishly catchy hook reverberated across radio, nightclubs, and house parties worldwide throughout 2017. The perreo shenanigans didn't end there, as cuts like “Egoísta” (with Zion & Lennox) and “Quiero Repetir” (alongside J. Balvin) found inspiration in ‘90s dancehall while turning up the drums to maximum pounding effect. The delicious infidelity intrigue of “Se Preparó” is the epitome of pop-reggaetón songwriting—fuel to dance your heartache away while unleashing primal screams from the centre of a dance floor. While Odisea is filled with gleeful party anthems, Ozuna also successfully transmuted melodramatic Latin balladry into the urbano realm. One of the album's most emblematic singles is “El Farsante”, a heartrending confessional unspooling coldhearted love games, boosted by percolating trap percussion and shimmering synths. Ozuna's raw, emotional vocals draw heavy inspiration from ‘90s R&B torch songs, a recurring motif heard on intimate cuts like “Una Flor” and “Carita de Ángel”. And even on the slow-burning “Pide Lo Que Tú Quieras” with De La Ghetto, the machine-gun trap treble creates a canvas of longing and smouldering seduction. The spirit of futurism also manifests in these songs, notably on “Síguelo Bailando”, where Afrobeats and techno basslines evoke VIP bottle service at a South African disco. On “Noches de Aventura”, warbling arpeggios propel what could otherwise be a traditional reggaetón earworm into an exciting, house-inflected fantasy of unpredictable nights out on the town with a boo.