After releasing the multi-platinum single Mi Gente in 2017 and the full-length Vibras the following year, J Balvin stepped away from his role as one of musica urbanas most sought-after collaborators to become (arguably) its most identifiable artist. Oasis, his 2019 multi-platinum duo outing with Bad Bunny, charted in more than a dozen countries and spent eight weeks as the top Latin album. Balvin released ten consecutive videos that garnered more than a billion views each, becoming only the second artist to do so. With Colores, he seeks to go become urbanos first auteur. He teamed with Guess for a clothing line for adults and kids to coincide with the albums release, and with director Colin Tilley on videos. Further, the records garish yet unforgettable sleeve was designed by Tokyos inimitable Takashi Murakami. Colores is a concept album: Each song is named after a different color and receives its own matching, extravagantly produced, fashion-forward video. The only lyric concept seems to be Balvins self-lauded sex appeal. Other than producer/co-writer Sky, Balvin enlisted no vocal collaborators for Colores, a marketing and aesthetic anomaly in 21st century reggaeton. Its also a brief set, its ten songs comprise only 29 minutes. Opener Amarillo is almost stripped to the bone. In addition to Balvins drawling, sing-song rap, and Skys layered beats, the only instrument is the sound of trumpets that sound sampled on a Casiotone. Single Rojo is a moody, atmospheric groover with competing hooks in the chorus and verse with wafting, haunted synths; its bloody, explicit video is disconcerting to say the least. Diplo drapes Rosado is in murky, drifting, blurry electronics that would not be out of place in an indie rock shoegaze track, but the use of cajon, fat synth bass, and the doubled vocal in the chorus underscore its cumbia roots. Skys use of a balafon to introduce the brittle urbano G-funk that frames Balvins vocals in Verde adds an African touch to the rhythmic attack, though brittle reggaeton is in front of the singers catchy rap. Negro is even sparser, with syncopated, skittering beats distracting the listener from Balvins haunted, hook-laden rhymes. The acoustic guitar, organ, and pan pipes on Gris bridge Colombian and Mexican cumbias as Balvins vocals grab the listener in a flowing melody, at once circular and resonant. Closer Blanco eschews everything but Skys beats and bassline as Balvins voice resonates with sensuality and an implied air of mischief. Its video portrays Balvin as the king of an aging, decrepit kingdom complete with a dragon, a tiger, and horses. He throws purple paint at a wall as a beginning to liven things up. There isnt much lyrical substance on Colores, and there doesnt need to be. Its a party record whose lyric flows are effortless and laid-back enough -- a Balvin trademark -- to attract listeners inside and outside musica urbanos big tent. The albums brevity adds depth and dimension to its direct, seductive, welcoming mix and garish presentation. ~ Thom Jurek

Rovi