Saturno is that it shows just how adept Rauw is at world-building. Little skits and interludes, such as “Rauleeto,” made up of voicemails from Rauw’s friends wondering where he’s gone, shape a neat plotline about the artist getting lost in some unknown galaxy. The album’s aesthetic identity is full of edgy blue aliens, cyberpunk suits, and pearly spacecrafts. He’s good at piecing sonic moods and colors into cohesive concepts, maximizing sleek visuals, intricate choreography, and deep-rooted references to bring stories alive. One of the best examples might be “Punto 40,” a revival of a Nineties hit by Puerto Rican duo Baby Rasta Y Gringo. Rauw actually brings Baby Rasta onboard for a verse, and also pulls in the track’s original producer, the legendary DJ Playero, who makes cameos elsewhere on Saturno. It’s reggaeton futurism that acknowledges the music’s history; it’s also a nod to how reggaeton and electronic genres have been in conversation with one another for decades. On the slippery standout “Cazadores,” Rauw tips his hat to the rapper Arcangel and his style of perreo galactico, a nickname for spacey, 2000s-era reggaeton. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.