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“It’s completely different from YHLQMDLG. It’s a more sentimental, colder album, the kind of thing you can listen to in your bedroom, ”says Bad Bunny. Billboard.
Here’s everything you need to know about the 16 tracks The last round the world, in his own words.
First and foremost, “Dákiti”, your first world song. Tell us more.
I had the album ready for a while. And I would say: Shit, I’m missing a song. Because the album takes a different and strange direction. We needed a track that connects everyone. A party trail. Jahycor [Jhay Cortez] and Mora had already written and prepared the song. I added my words, my touch, to the beat of Jhay Cortez. Then we sent it to Tainy so he could put his twist on as well, and it was all a very dynamic, very cool team effort. I really liked the way we work. We spent time with Jhaycor in the studio, discussing things, going back and forth, “What do you think if we add this, if we change that”, and he was like, “Diablos, that’s awesome” , and that’s how it went until we got this shot. Damn.
How has quarantine work changed your music?
In the end, it’s the same method that I always use. I work in my space, relaxed, I write anywhere – in my hotel room, on the plane, at home. I kept creating my songs and had them ready to go so that the moment I could reunite with La Paciencia [real name Roberto Rosado, Bad Bunny’s longtime collaborator and sound engineer], I would register them immediately. We recorded a lot of them in Puerto Rico, others in Los Angeles and the most recent in Mexico.
Next to “Dákiti” there are two other collaborations. What can you tell us?
I have “Sorry Papi” with Abra. She’s a girl from Los Angeles. She is extremely talented. She makes her own beats, her own music and she’s independent. And I have another called “La Noche de Anoche” with Rosalía. We have registered separately due to COVID and our schedules. We had been trying to work together for some time and the right opportunity had not presented itself. Chris Jedi sent me a track with a rhythmic base that he did with Rosalía, and I thought it was cool, but I let it sit for a while. A few days later, I couldn’t stop singing the song. So I told Chris that I would try to see what came out of it.
You usually don’t save songs sent to you like this. How else did you break the rules with this album?
Even though Rosalía’s collaboration didn’t go the way I usually do, I have a feeling that if I broke the rules with this album, it’s more in the music than in the process. I’m very happy with it because it’s completely different from YHLQMDLG. It’s a more sentimental, colder album, the kind of thing you can listen to in your bedroom. I laughed because people told me that I kept going out perreo at a time when people couldn’t go out and party, and I said, “OK. Now you can’t complain.” It’s an album for you to stay at home, relax, have a beer, a glass of wine, paying attention to the lyrics. It’s a little more rock ‘n’ roll, a lot of guitars – there is a song that only has guitar – it’s more musical, has more fusions, and also reggaetón and rap.
Everything is in Spanish. Do you plan to sing in English?
[It’s not that] I’m not interested in recording in English; it’s just that I don’t feel it. I’m not ruling out the possibility of doing a song entirely in English with an artist from the American market. That could be cool. But I write my songs, these are my ideas, my production, and I’m not going to have any ideas and lyrics coming to me in English. I have said this from the start. In the past, fans, even Latin fans, underestimated their Latin artists and rated American artists as better. I never believed that. I always thought we were on the same level, and little by little people realized that we were, and we showed that Latin music could go as far as any other.
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