When I talk to a colleague in the industry about which artists deserve to receive the support of a major label thanks to their trajectory, freshness and room for improvement under the protection of the teams of a multinational, as well as their originality, their capacity for growth and use of the resources at its disposal, the name of Soto Asa appears on the table. I put it, come on, if any of my interlocutors overlooks the career of an artist like the man from Ceuta, author of some of the best reggaeton songs in Spain in the last five years, something that does not usually happen. Soto Asa’s creative universe is one of those brilliant exceptions that works just as well if you look at them from an enlightened perspective as if you simply let yourself be carried away by the force of their productions and the atmosphere created by their lyrics and the treatment of the voice that practice since its inception.
After three years without signing a LP, those that have passed since the launch of the wonderful “Coupé” and five years later of that “Dawn Music” that skyrocketed its popularity with songs like “Me gustan sus nai” –along with The Beef-, arrives “Super Feeling 64”, an album in which Soto Asa proposes a return to the most purist reggaeton and parks the car of the fusion of styles between urban, psychedelia and electronics with the usual notable result. It is difficult to define the borders and capitals of the kingdom of Soto, but of course what he draws with each project is a place where hedonistically makes you want to stay and live. To live and dance. What is more music than that?
Without reaching the depth of “Coupé” or “La Cruz”, which are works that resonate not only with the listener, but with other artists of their generation and the one that followed without being capable of reproducing something similar, “Super Feeling 64” It captures the personality of Soto Asa and the dozen songs that make it up are among the best of the genre this school year in our territory.
there is no in “Super Feeling 64” a hymn like the aforementioned song with Yung Beef, his collaborations with La Zowi or “Si tu kieres”, but the background quality of all the songs is present indisputably. Songs like “With the passage of time”, “High School”, “Fendi” or “Verstappen” delve into the imagination of a Soto Asa who has managed to become one of the most solid artists of the moment, combining freshness and power in streaming of the urban genre with the loyalty of the public, precisely through the construction of an imaginary, which is habitually associated with independent music. Now, the question, going back to those huddles in the industry to which we referred in the first lines of this review, is what can a great contribution labelin this case Sony, to a project like this?
The question will be resolved by the passage of time. We are not talking about a total project, of a Soto Asa within the structure of a multi, but of a single album, so the way of working on it is different. By boat, I soon think that the reggaeton radio stations in the country would gain a lot if they took a look at Soto Asa’s project, I also think about its potential for the summer season, that the public that listens to decaffeinated reggaeton –a lot– would get to know the flavor spicy and full of nuances from a top-level singer, with one of the most interesting careers on the national urban scene.