NMF: Semana de Perreo Pesao from Abee, Damn Goldo, to Yomo & Subeleo NEO

I will be very honest with you all, cuando no, this week’s curation was really tough: From underground perreo to major urbano releases, here are the best new reggaeton and Latin music drops you need to hear this week–from what I could find.

For the record there were a ton of releases this past week. But from what I was able to find? I was extremely unimpressed and then curious–is this a reflection of the past week or where we are right now in music? Because the matter of the fact is, I am a Historian–I study the 90s and 2000s of Reggaeton heavily so #AlertaPendiente has me listening to new music at a rate I never have before. And while I don’t live under a rock–and of course listen to contemporary music especially socially, I’m questioning if my past critiques were tough or not tough enough?

So I just became hip to Damn Goldo, and I can absolutely see the hype the internet is buying into — and honestly, I get it. He’s exciting, experimental, and clearly unafraid to play with different sounds while maintaining an aesthetic that feels deeply nostalgic of 2000–2005 reggaeton culture. Just look at the cover art for Variados Vol. 1 — the references are intentional, and they work.

Now, with Que Tu Quieres, any real reggaeton fan immediately catches the nod to Don Miguelo’s 2006 classic Que Tu Quiere. From the title to the cadence and delivery, Goldo reinterprets the record in a way that feels contemporary without losing the spirit of the original. His version is playful, refreshing, and fully rooted in where reggaeton is sonically heading in 2026.

What makes Goldo stand out is that he doesn’t approach nostalgia like cosplay — he understands the emotional texture of that era and filters it through a modern lens. There’s a looseness and charisma to the track that makes it feel built for replay value, especially for listeners who grew up on classic reggaeton but still want something fresh. While I do wish there was a little more Goldo on the song, it definitely passes #theauxtest.

There are songs that make you lean in for the vibe, and then there’s Contigo Aqui by Abee La Sensacion, which from 0:00 takes you on an emotional heartbreak roller coaster that is bound to have you thinking about your ex. I have to compliment the vocals on this one — the harmonies are beautifully layered throughout the track and, combined with the line “Contigo Aquí, la vida es una y la quiero vivir,” the song carries mucho sentimiento. It’s not every day you hear a reggaeton record that feels this reminiscent of a 90s ballad, especially one willing to fully lean into vulnerability without losing its urbano core.

What really makes the record land is its sincerity. There’s no forced toughness here, just raw emotion delivered through melody in a way that feels timeless. The production leaves enough room for the vocals and heartbreak to breathe, making every hook hit harder the longer the song plays. This is definitely a headphones-and-a-hoodie-on-a-long-walk-home-in-the-rain type of record — the kind that presses emotional buttons every single time.

“Que se sienta” — y sentada estoy. Super Estrella is every millennial malianteo lover’s dream, a track that feels intentionally crafted for listeners who grew up obsessed with the golden era of perreo and still crave that same adrenaline rush today. Subelo NEO, DIA, and Yomo all shine here, delivering a sexy, reference-heavy record that constantly keeps you engaged through beat changes, vocal switches, and flows that evolve almost every four bars.

The production alone is bound to be considered a masterpiece by old school perreo lovers. It understands exactly what made classic reggaeton feel dangerous, sweaty, cinematic, and addictive without sounding stuck in the past. Instead, “Super Estrella” refreshes that energy for 2026 with precision and confidence. Every transition feels intentional, every synth stab lands, and Yomo’s presence especially adds that unmistakable street intensity longtime fans have missed.

Most importantly, the song never loses its sense of fun. It’s energetic, sexy, chaotic in the best way, and fully committed to the spirit of malianteo. I genuinely have no notes. Dare I say, for reggaeton in 2026? This is a 10/10 and one of the standout releases of the entire year so far.

This song genuinely tore me to pieces. It’s produced and performed like an underground reggaeton track that accidentally leaked onto LimeWire in 2007 — and I mean that both as a compliment and a curiosity. There’s something deeply nostalgic and emotionally raw about the entire experience, from the wistful intro all the way through its extended runtime around the 4:15 mark. And honestly? I appreciate the length too. In an era where songs are becoming shorter and more algorithm-driven, the track takes its time emotionally in a way that feels refreshing.

That said, there’s an amount of autotune and vocal distortion here that almost completely takes me out of the experience. The vocals before Zion comes in are so processed and blown out that at moments I want to throw the track away altogether. It’s frustrating because underneath those technical choices is a genuinely beautiful composition struggling to breathe through the mix.

Because once you strip away the questionable production decisions, the songwriting itself is incredible. The arrangement is gorgeous to the bone — the strings, the rhyme schemes, the layered call-and-response between the male vocals — all of it creates this aching emotional atmosphere that feels straight out of classic romantic reggaeton. The structure understands tension and release in a way many contemporary records don’t even attempt anymore.

And that’s what makes the song so heartbreaking for me: the greatness is clearly there. If it weren’t for the technical factors, this would absolutely be one of those records blasted from every aux in sight. The issue isn’t the lyrics, melodies, arrangement, or composition, it’s the production quality. Let this be a reminder of how much engineering choices can either elevate or completely distract from a song’s potential. I genuinely hope this track gets re-released or remastered in better quality one day, because underneath the distortion is something truly special.

Este verano lo que hay es perreo — and honestly, I’m not mad at it. Juguetona easily lands beside records like Maldita Puta, Rompe Condones, and Siente El Boom on my DJ track list. From the horns to the cadence to the delivery, the entire record feels like a proper Y2K reggaeton tribute done the right way. It understands the exaggerated energy, the humor, the flirtation, and the chaos that made early perreo so addictive in the first place.

One thing I especially love is when artists genuinely sound like they’re having fun recording, and that energy completely drives this track. It reminds me of Jowell & Randy — their music always feels like they’re smiling while recording in the studio, and Sinaka and Flackoyal tap into that exact spirit here. The chemistry sounds natural, playful, and effortless rather than forced nostalgia bait.

What makes “Juguetona” stand out even more is the attention to detail. The wordplay, rhythmic choices, and vocal cadences all show an intelligent understanding of the millennium-era reggaeton blueprint without simply copying it. Instead of feeling dated, the track feels refreshed for a new generation of perreo lovers who still crave that raw party energy.

Whew. #AlertaPendiente is supposed to be fun, but as I’ve mentioned before, some of the music released this week just didn’t give. These five tracks, though? I can absolutely get behind them, and I’m genuinely excited to see how the culture responds.