Nadie Sabe Lo Que Va A Pasar Mañana

Bad Bunny’s fifth studio album, Nadie Sabe Lo Que Va a Pasar Mañana, occupies a conflicted space. "Dicen que el mundo va a acabarse, ojalá que sea pronto" reads the album's fatalist opening statement; the consequences of stardom run through this album like veins of ore. Where last year’s Un Verano Sin Tí was defined against open skies and sweeping possibility, Nadie Sabe sees the walls closing in for the first time -- and with the crown seeming to weigh a little heavier this time around, Benito finds his refuge back at the start: in Latin trap.
Indeed, Nadie Sabe's identity is anchored to the return of the "trap bunny" stylings of his early career, a compelling era of gloomy breakup ballads and thundering anthems. Yet while some of the familiar markers are present -- clicking hi-hats, outlandish sex talk, the gravelly voice of Bryant Myers -- the album's sound pulls as much from modern trap as it does from Latin trap's late-2010s peak; its bounced-up 808s and glossy synths prove a far cry from the haze-shrouded "Soy Peor" or insistent "Me Acostumbré." It’s a patchwork style but one that frequently plays to his strengths as an MC: Benito glides across the stomping 808s of "Mr October," summons the highlife into gems "No Me Quiero Casar" and "Baby Nueva," and hooks into new sounds with the gorgeously gothic "Cybertruck" and bounce-laden "Los Pits." True to form, he also takes time to usher the new school under his wave: Young Miko uses her dismissive, slick vocals to open "Fina," YOVNGCHIMI and Luar La L add a gruff edge to the project’s darker cuts, and Mora’s experimentation with electronica resurfaces here on the skittering "Hibiki."

- David Crone - allmusic.com