Residente's “Las Letras Ya Na Importan” is a celebration that could use more focus

A couple of years ago, Residente engaged in a war of words with J Balvin. Admittedly, it wasn't a fair fight, at least on these terms, with one of Spanish-language hip-hop's most established artists putting the Colombian reggaetonero on the defensive. Lurking beneath this volley of deleted videos and dueling hot dog memes is a deep-seated criticism of the industry in which both artists operate, where a dispute over representation at the Latin Grammys could spark a legitimate, almost existential animus between them. And while it would be a mistake to credit the Puerto Rican rapper with his nemesis' current commercial drought, in some authenticity-obsessed Latin music circles it represents a small victory of substance over mere content.

In light of this much-hyped beef, it's hard not to see the headlines and covers Las Letras Ya No Importan (The lyrics don't matter) as an extension of ingenuity, with music biz cynicism and AI laziness on full blast. Of course, Residente's fundamentally human artistry compels him to channel his concerns and passions into hip-hop, the art form where he made his name with the great Calle 13 and as a solo artist. A show-and-prove opportunity for a decorated veteran, the 23-track, 90-plus minute effort can be grueling and, at times, exhausting. But when you position yourself as the equivalent of a Michelin-starred chef in a fast-food sector, people should expect a celebration.

By the way, it takes more than two minutes for Residente to reach its own album, with complex intros focusing on the voices of his departed girlfriend Valentina Gasparini and actress Penelope Cruz instead of himself. These are clear choices with obvious meaning, personal or otherwise, but once “313” starts, it's pervasive and romantic with its poetry and emotions. “El Malestar En La Cultura” shifts gears to knowingly stake out the intertwined roles of rap and culture, while the ferocious “Desde la Servilleta” defends its very work ethic with bars upon bars.

At this stage in his career, no one expects Residente to be on the cutting edge of hip-hop production. In the seven years since his last album, 2017's globe-trotting Inhabitant, has not lost his desire to paint his canvases with a wide sonic palette. But amid the apparent false starts that have surrounded this long-awaited sequel, a little self-restraint would have helped make Las Letras… a cohesive work rather than an unintended splatter that inadvertently highlights the material's disparate origins and ages. Some of his orchestral choices here feel worse than regressive, the staid nature of “Jerga Platanera” and “Ron En El Piso” undermining the otherwise solid lyricism. Considering what other political rap peers like Jay-Z and Nas have done on late-period albums with No ID and Hit-Boy, Residente's record would certainly have benefited from a similar focus. Instead, we end up enjoying such downright sad innovations as the bluesy stomp n' twang of 'Problema Cabrón'.

However, when it works, it works pretty well. “En Talla” harkens back to Fania's glory days, its methodically slow tempo giving him plenty of room to engage in honest socio-political analysis without missing a beat. Previously released tracks like “This Is Not America” ​​and the cathartic “René” amp up his vibes, locally poignant and thematically fluid in ways that would elude most other rappers. It certainly doesn't hurt to bring in genre giants like Arcángel for the vibey “Que Fluya” or the inspired pairing of Big Daddy Kane and Vico C on the bilingual “Estilo Libre.” Of course, the Residente doesn't need guests to show off its own greatness, but Las Letras… he desperately needed someone other than him to make this point more clear and concise.