Mixed with thoughtful (and sometimes crude) lyricism guided by an anti-colonialism discourse, Latin American sociopolitical content, and racial pride, it gave listeners a smooth blend of danceable rhythms and intellectual dialogue.
Producer and multi-instrumentalist Visitante was formally educated in music, and eventually formed part of a rock en español and Brazilian batucada band called Bayanga, which provided a diametrical point of view from the traditional caserío-inspired dancehall synthesizer sound from most albums.
The main asset of the album was that it provided more than just danceable tracks, and it began to question the inner perception of Puerto Rican identity and the acceptance of foreign models as a pertinent solution to Latin American issues.
[3] Much like the alternative wing of hip hop (with artists such as Mos Def and Talib Kweli), both Tego Calderón and Calle 13 have found a solid fan base and success in the indie scene and mainstream scenarios.
However, Fornaris' constant collaborations with mainstream reggaeton singers, such as Don Omar and Tito El Bambino, has devaluated him in the indie scene, contributing to a sellout stigma.