18 Best Latinx Albums Of 2018

Every nook, cranny and liner note to Rosalía’s El Mal Querer was met with sheer precision. Her skeleton was The Romance of Flamenca, a manuscript from the 13th century about a woman finding love in a toxic place as she was confined to a tower by her jealous fiance. Her samples acted as the organs thanks to poppy R&B flair of Justin Timberlake’s “Cry Me River,” “Destiny’s Child’s “Say My Name” and art pop/British electro by way of the late Arthur Russell and James Blake. Together, these elements helped to form the skin and the nuevo-flamenco singer’s deathly take on love to life.   With every song acting as a chapter and her signature handclaps as a musical median, tracks like “Malamente,” “Bagdad” and “Maldicíon” keep the allure of love alive while the proverbial flames of loves surround her. Rosalía’s style was something Latin pop didn’t see coming as the strong resurgence in reggaeton and Columbia's elite players like J Balvin and Maluma commanded the world’s attention. But Rosalia’s unique and charming blend of composition with odes to her childhood and dembow sounds, El Mal Querer is a tragic tale of desire and love that somehow keeps you wanting more.   If you thought the intensity of El Mal Querer was too much, the 25-year-old heightened the mood with her cinematic visual for “Malamente.” With almost too much to process, the video compares bulls to motorcycles and features sick choreography that includes Rosalia laying on a forklift and dancing in the back of a moving truck (seriously, look it up). The makings and historical context of El Mal Querer will truly take some time to digest, but it’s sure as hell worth the exploration. —Desire Thompson

A fishing line ripping the pulmonary artery from the heart; then receiving the warmest hug shortly after, to cope with the deoxygenation. This is what listening to Jessie Reyez feels like. Her sour patch effect is, however, more sweet than tart on her second EP, Being Human In Public. The veracious lyrical and emotional make-up, paired with imperfect pitches and runs laced into the essence of the 6-track project, definitely strikes a chord. But the power of self that ruminates throughout each individual song is an undoubted embrace that holds us together along the 22-minute journey.   Following the instruction of her mentor, Daniel Daley, the Canadian lyricist grabs us “by the gut” with the first six words of the album: “I think about dying every day.” Making up our minds for us on whether we’ll follow through on one full spin of the EP in its entirety, Reyez holds on until she feels every word and instrumental drop to the pit of the dietary organ to the final second of B.H.I.P. The multi-platinum artists proves to obtain effectual emotional power that one can argue hasn’t seen the light of day since the late Amy Winehouse, of whom the Colombian artist lists as one the discographies she spun the most, growing up.   The pure childlike candor seeping throughout enables the listener to feel everything the 27-year-old artist feels with every breath sung. If you aren’t a Spanish-speaking person, you prematurely feel the singular nature of her first Spanish-language ballad “Sola” before you discover the self-proclaiming realization of her estrogen-induced identity. The frank nature ensues with a sharper pen on the next few tracks, “F**k Being Friends” and “Dear Yessie.” The former finds Jessie walking a pillowed companion through his affliction with his love for her: “Got your heart in my hand and your d**k in the other/You ain’t scared to f**k but, you scared to be lovers/Why is that huh? My p***y beat better than my heart do?” While on the latter, the “Figures” singer can’t help herself from contradictingly comparing her relationships with negativity and sex with celibacy and proclivities just shy of those of the 50 Shades trilogy.   Paying homage to her Latinx roots is something Reyez walks taller in than her small frame will allow. But, she connects her purpose in music to the realization of the power of her affection after “Figures” was released. This EP is a perfectly imperfect manifestation of that. —Ashley Pickens

The world’s attraction to Maluma cannot be beat. The Colombian heartthrob turned our carnal desires into F.A.M.E., his first bilingual album. If you’re looking for a song that’ll raise your heartrate, “Delincuente” belongs at the top of your playlist. Whether you’re going to the gym for a run or getting ready for a date, the underrated track will get you going. He admits he’s a delinquent and on the prowl, and we’re here for that.   On the upbeat “Corazon,” Maluma get vulnerable with melodies of heartbreak with the help of Brazil’s Nego de Borel. It was only natural that the duo collaborate as the song was inspired by de Borel’s 2017 hit "Você Partiu Meu Coração." But of course it was the release of last year’s “Felices Los 4” that took Maluma to new heights, with its steamy visual making it apart of the Latinx billion-views club on YouTube along with “Corazon.”   Honorable mentions go out to the only ballad on the album, “Marinero,” and his collaboration with Jason Derulo, “La Ex.” The back-and-forth beat in the latter is perfect for the nightclub when you’re just getting to know someone. You and the person who caught your eye can get close while grinding to the beat and figuring out who says their name more: Maluma or Derulo? Under his seductiveness lies a humble artist. Selling out Madison Square Garden on his first U.S. tour, a seemingly endless hit streak with Shakira and now a 6x platinum album hasn’t left the 24-year-old settled. He’s bound to do way more now that he has the world in his hands. —RC

Painting insightful metaphors of self-reflection, love, and sex, Ozuna’s sophomore album takes a deep dive into the life of the 26-year-old reggaeton prince. The album’s title loosely translated to its English pronunciation is a 20-song project featuring artists like Cardi B, Anuel AA, Arthur Hanlon, and more.

 

With Cardi B’s assistance, “La Modelo” allowed the artist to join the long lists of Latinx acts to crossover which led him be a part of this year’s biggest singles like the remix to “Te Bote” and the poptastic “Taki Taki” with DJ Snake, Cardi and Selena Gomez. His Aura tour allowed him to make big firsts like selling out Madison Square Garden, hit three billion streams on YouTube and become YouTube’s most globally viewed artist. Reggaeton’s future just got brighter with Ozuna in it. —Zoe Johnson

With Libre: Fireboy Forever, the underdog is finally on top. Fuego entered the game in 2010, merging hip-hop with tropical rhythms to create barrio bangers like “Que Buena Tu Ta” and his Spanish remake of Drake’s “Hotline Bling” years before Luis Fonsi and Daddy Yankee’s “Despacito” made urbano global again. But as trap en español climbed the charts, the underground hitmaker’s name was absent. In June, fresh off a record deal with Universal Music Latin’s Transcend.ent division, Fuego, born Miguel A. Duran, dropped his past-due LP and is finally gaining the respect he has long deserved. Spitting fire bilingual bars that befit his name over 808-heavy trap beats, the Washington, D.C., dominicano gifted the industry with one of the toughest Latin trap albums of the year—undeniably.   The 13-track project has the pari crowd-pleasers, laid-back joints for the wavy listeners and the mandatory boastful paeans. Take “Envidia,” the merengue-slash-undulated trap himno for street artists, the ones that are hated on by both old-block foes and new industry frauds. “Muchos quieren hacer lo que hago pero no está fácil / Porque yo nací con esto y no cogí ni una clase,” he raps with a slight rasp. To stunt on the envidiosos, the combusting rapero delivers “Flex,” a brazenly-relaxed banger about having the cashflow to buy what you want and do what, and who, you want. But, of course, no Latin trap record is complete without an I’m-going-to-turn-up-to-get-over-you strain to dedicate to a cruel ex. For that, Duran offers “Brindar,” rapping calmly about post-heartbreak flexing over a definitive slowed-down beat that goes harder than the rock that replaced his shattered corazón.   Fuego made his mark in the explosive genre that almost left him behind with the project. And if “Dancin’,” a recently-released musical ode to club mamis featuring chilled-out peruano singer A.CHAL, is any indication, he’s securing his spot at the apex in 2019. —Raquel Reichard

If Anitta’s Solo was the only body of work the Brazilian pop star had on a resume, you would gather that she’s probably fluent in English, Spanish and Portuguese. And that above all else, she has all the ingredients inside pop’s machinery to make a hit record. On her three track debut mini-EP, Anitta creates a flirty, fun and catchy vibe with “Veneno,” “Não Perco Meu Tempo” and “Goals.” With “Veneno” she explores the dangers of seducing a possible male suitor, but refreshingly asserts all the agency she has in being her subject’s main object of desire.

 

“There’s no limits, there’s no rules, if you wanna be sensual, that’s fine. It’s just you and yourself. You’re not hurting anyone” she told Rolling Stone of her artistic methodology. “I think that as long as you respect people, you’re free to do whatever you choose.”

 

Amid her proven abilities as a musician, Larissa de Macedo Machado (Anitta’s real name) is also a judge on La Voz Mexico (Mexico’s version of The Voice) and has been huge in her native Brazil for a solid 10 years before gaining international momentum in the U.S. And in addition to working with mainstream Latin artists like J Balvin and Maluma, the 25-year-old also has a docu-series on Netflix which centers on her rise to fame titled, Vai Anitta.

 

Anitta’s musical journey on U.S. soil has just begun, but if Solo is any indication of what’s in store—a major disruption in Latin-pop is on its way and there’s definitely room for a mainstream English crossover. She’s proven it already. —Richy Rosario

After topping the Billboard Hot 100 in 2017 with the monster hit “Bodak Yellow,” Cardi B set her sights on 2018 and delivered beyond expectation. The frenzy surrounding the Bronx, N.Y. rapper shows no signs of halting anytime soon as the former reality TV star continues to rack up multiple accolades whilst making history in the process. With the release of her critically-acclaimed album Invasion of Privacy, the projected 2019 Grammy frontrunner dominated the Billboard Hot 100 earning 255,000 album equivalent units (103,000 of which were pure sales). Since debuting in April, the LP has been certified double platinum by the RIAA and produced a wide variety of hit singles including “Bartier Cardi” feat. 21 Savage, “Be Careful,” “Ring” feat. Kehlani and “I Like It” with Bad Bunny and J Balvin, which topped the Billboard Hot 100, becoming the entertainer’s second No. 1.

 

While breaking records seems like second nature to Cardi at this point, the album is atop most, if not all End of Year lists for a reason. Invasion of Privacy showcases the rapper’s infectious personality and equips listeners with flashy anthems including “Drip” featuring Migos and “Money Bag.” However the rapper’s vulnerability remains one of her biggest strengths as Cardi lays it all out on the line, especially on “Thru Your Phone” (“My heart is beating like it's bleeding out / You sleepin', you sleepin', you sleepin'”). Presenting a fusion of sounds ranging from trap, reggaeton and R&B, Cardi B’s hunger from her mixtape days is present throughout her debut. Opening the album with a flow reminiscent of Meek Mill’s “Dreams and Nightmares,” the Atlantic signee proves that she’s still that “regular, degular, shmegular” girl living her dreams on “Get Up 10”. (“And I got enough bras, y'all ain’t gotta support me / I went from rag to riches, went from WIC to lit.”) Other notable standouts on the album include twerk-friendly “Bickenhead,” “She Bad” featuring YG and “I Do” featuring TDE heavyweight SZA.

 

Since her smash hit “Bodak Yellow,” Cardi B has inched her way to the top without letting pregnancy or controversy stop her grind. As of now, Invasion of Privacy remains in the Top 5 highest selling Rap/Hip-Hop albums in 2018 with over 1.5 million sales. While the entertainer gears up for the deluxe version of Invasion of Privacy, if her new single “Money” is any indication, more hits and accolades will follow the modern-day Binderella. —Wanna Thompson

CNCO was unleashed onto the world after taking the top prize on the Univision reality series La Banda and they’ve been unstoppable ever since. The not-so boy band, consisting of Christopher Velez, Richard Camacho, Zabdiel De Jesus, Joel Pimentel and Erick Colon, released their self-titled studio album in the spring, commanding major attention on the charts.

 

They peaked on Billboard’s Top Latin Albums chart in the No. 1 position, as well as No. 1 on the Latin Pop Albums chart and No. 1 Latin Rhythms Album chart. The biggest hit off their sophomore album is the “Reggaeton Lento” remix featuring U.K. girl group Little Mix, charting in the United States, United Kingdom, Canada, and Japan. The pairing of these two super groups was pure fuego, with the companion music video receiving more than 224 billion views on YouTube. Lest we forget to mention the irresistible beat and sensual rhythms that had people on both sides of the pond dancing to Latin music and learning Spanish.

 

Puerto Rico’s Yandel teamed up with CNCO to create the seductive track “Hey DJ" that peaked at No. 14 of Billboard’s Hot Latin Songs chart and was 6x certified platinum. The counter on their accompanying music video for the track shows more than 282 million viewers via YouTube. Other favorite tracks to keep you warm throughout the winter include “Se Vuelve Loca,” “Fan Enamorada” written by the legendary Ricardo Montaner, and the swoon-worthy “Fiesta En Mi Casa” that’ll make older fans wish they were in their 20s again.

 

CNCO are new to the scene and have rabid fans known as #CNCOWNERS that circle the globe. Their sweet lyrics and addicting melodies are easy to fall in love with and under Ricky Martin’s mentorship, there’s no telling just how far they’ll go. —RC

After flexing his acting muscles on Showtime’s SMILF, Bodega Bamz makes his return to hip-hop with his most recent offering PAPI. Inspired by his father’s journey to America as an illegal immigrant in 1979, Bodega Bamz delivers an album for the people trying to make a better life for themselves, whether they’re here legally or illegally. Bamz has never wasted an opportunity to rep for his people and this album is no different.

 

Clocking in at 14 tracks, PAPI features the TanBoys general bringing his listeners to East Harlem once again, this time detailing the resiliency and passion he obtained from his father and how he used it in his own life. The grimy bars are on full display over a selection of hard-hitting boom bap beats that Bamz flows through effortlessly. With the exception of Lil Eto featured on “Uncut,” Bamz is riding the album on his own dishing out vivid lyrics of hustling and perseverance. Buzzworthy records include “Fuego,” “Clout” and “Emergency” while deeper cuts like “119th” and “Proud and Powerful” showcases Bamz’s lyrical ability. He may be on to bigger and better things but if PAPI is any indication, Bamz hasn’t forgotten where he came from. —Mark Elibert

Jesse Baez' evolution from soulful, homegrown, R&B artist to melodic Latin-trapper is flawlessly portrayed in his sophomore effort, Turbo. It's clear that the Chicago-born Guatemalan has done a lot and seen even more since his debut project B.A.E.Z dropped in 2016.

 

This time around, Jesse opted for more bounce; more rhythm with his blues. He teamed up with producer Dillion Francis on "Quiero Saber," the track that transitions the album from Jesse's slow and sultry sound to the uptempo trap-like tracks. Turbo embraces the current wave in R&B music of using hip hop undertones to harden up a melodic record. The seven-song EP features verses from fellow up and coming Urbano Latino stars like Alvaro Diaz and Fuego, each of whom adds their own unique sauce to Baez's alternative soul vibes.

 

Madrid rapper C. Tanganga lent his rhythmic, Migo-esque bars on "No Tu Eres," a Baez fan favorite from the smooth EP. The effortless sounding title track pretty much sums up Baez's thought process while creating the album. He sings, "Sometimes I feel that everything is going very fast/ Sometimes I feel that everything changes very fast/ But nothing has to change."

 

Things have indeed changed for the soulful crooner who went from being signed to a small Mexican label like Finese to a larger, more resourceful label, Universal Latin. But as he declared — nothing actually has to change. Although Turbo adds some brightness and vigor to Jesse's sound, it's clear that his love for R&B still remains. —kthewriter

Colombian artists are dominating the Latin urban-pop scene, and with his debut album MANTRA, Sebastián Yatra unquestionably joined his compatriots at the top. Released on May 18, the spring offering—an enthralling combination of poppy reggaeton and ballads hard enough to spark the late genre’s revival—set the mood for summer lovin’. The Medellín-born, Miami-raised baby-faced crooner makes his entrance with “SUTRA,” a slow-reggaeton bop, featuring Bori veteran Dalmata, about Yatra’s ability to make a dream girl fall for him. “Y aunque su corazón tenga una clave / Nadie lo sabe pero tengo la llave / Desde hace mucho tiempo la aprendí a enamorar,” the 24-year-old sings seductively.

 

Nominated for “Favorite Pop Album” at this year's Latin American Music Awards (LAMA), the long-anticipated project included pre-released hits like “Traicionera,” the urbano-EDM chart-topper about a treacherous lover, and “Robarte un Beso,” the Carlos Vives-assisted tropical megahit that was nominated "Song of the Year" at the Latin Grammys and picked up a LAMA award for “Favorite Pop Song.” But MANTRA’s biggest feat might’ve been making an audience of trap-enthusiasts fall in love with classic Latin ballads. With “Como Mirarte,” a heart-tugging song on lost romance, and “No Hay Nadie Más,” where the singer refuses to quit on a relationship, dreamboat Yatra made baladas cool again. —Raquel R.

A.CHAL’s recently-dropped EP EXOTIGAZ wasn’t what fans expected from the Peruvian-born, Queens-raised R&B stunner. Opening his winter surprise with the steaming Miami club-style banger "TYPE," produced by Count Justice, signaled Alejandro Chal had cooked up a sizzling six-track appetizer distinct from the hazy GAZI style of music he’d built his name around. The project, which blends his sultry vox with trap low thumps and slowed-down urbano ritmos, is a quick teaser to a full-length album the artist plans on dropping in the first months of 2019. But it’s not a compilation of unsavory scraps that didn’t make his forthcoming LP. With its pivot to Latin trap and reggaeton, influenced by Chal’s time in Caribbean scenes across Miami and Uptown New York, EXOTIGAZ is a delectable bite-sized treat.

 

In "DÈJALO," a base-heavy jam produced by Phil Mic, Chal seesaws between English and Spanish to boast about the changes that have come with his thriving career. “Dèjalo, they don’t last in this sh*t / Back then, I would laugh at the sh*t / Reggaeton, now I dance with your bi**h / Wax on, I advanced everything,” he sings in the chorus, returning to his signature tranquilized style. Teaming up with Caribbean heavyweights like reggaeton producer Tainy and trap beat-maker Rvssian, Chal also delivers urbano bops that can play seamlessly between Ozuna and Bad Bunny hits. "000000" (pronounced six zeros), an earworm—crafted by the Puerto Rican hitmaker—about getting over the girl who paid Chal little attention before his music blew up, is slated to be a lento-reggaeton chart-maker. While “EXOTICA,” a flex joint produced by the Jamaican trackmaster, will enliven every winter club and party like it’s summer in ‘99.

At just 18 minutes long, EXOTIGAZ is a welcomed whiff of the intoxicating smoke Chal is breathing into the globally-addicted Latin urban music scene. —Raquel R.