Sweep He has become one of the biggest superstars in the world. By dint of hits and a particular way of understanding his own artistic character, making it indivisible from his songs, and, above all, thanks to a creative hyperactivity that has led him to sign almost fifty songs in a calendar year between albums, singles and collaborations. It is almost impossible for the quality of such an extensive work not to suffer. The great artists in history, in their most fertile times, released one album per year, on very special occasions even two. Feid has been tirelessly discouraged for several years. Therefore, hers is already her penultimate album, ‘MOR, Do not fear the darkness’, It was a real prick despite (perhaps because of that) opening up to new sounds and trends. All specialized critics agreed, from Mondo Sonoro to niche digital media, that their growth expectations may be compromised if they call an album promoted by one of the big record labels mediocre.
Maybe for that very reason, Sweep He has been quick in responding. Just two months after his puncture, he is back at it with ‘FERXXOCALIPSIS’, an album with a more classic conception of the genre and with solid foundations based on hits and background songs that any other artist would dream of having as their best-known hit. ‘SHAPED’ It is a ninety-second bomb that serves to kick off an album like this that does not lower the level in any of its ten tracks. We previously listed the keys to the outbreak of Sweep, but we reserved the most important one: he has been able to create his own sound, and that sound is at the same time recognizable and flexible, in constant evolution. Even when he collaborates with a producer like ATL Jacob (responsible, among others, for Future and Drake’s hit ‘Wait For You’) who comes from the English-speaking world, so far from Medellín. ‘DESQUITE’ andIt’s a hit, it is too ‘SHIP’, although they are not going to achieve the reproductions or popularity of ‘CLASSY 101’, along with the already-more-than-a-promise Young Miko, whom Feid opted for before almost anyone else. Will the same happen with Pirlo, Mañas Ru-Fino, or Jhay P, the underground artists who share a line-up with Ferxxo in this work?
It is certainly commendable and revealing that Sweep has opted for young talents unknown to the general public and it has turned out well. Better, in fact, than his collaborations on the previous album. There is talent, rhythm, lust, hedonism and originality. There is something magical about the sound that Wein (the main producer of Sweep) and company have achieved in this work. Something tells me that it is not going to be the Colombian’s most successful album, but something also tells me that it is not going to receive any unfavorable opinions. The state of the urban genre at the moment is curious. Despite the fact that it has become the new pop, it seems that the albums have fallen a bit out of favor in reggaeton while, in parallel, they are increasingly trying to make more projects and go further outside the rules of the genre. Not in this case, where Sweep has reached one of its peaks by sticking to the basics: Strong bass to reach the ground; and sex, sweat and heat.