Benny Blanco’s First Spanish-Language Album, ‘Hermoso’: All 8 Tracks Ranked

At just five seconds, “Cinco” is less a full-fledged song than a fleeting musical wink. Positioned as the album’s seventh track — right before the last album track “Degenere” with Myke Towers — it arrives and disappears almost immediately. Its brevity is part of the joke, but it also makes the track feel more like an interlude than a fully realized entry in Hermoso.

A tiny, tender love letter, “Te Amo” says more with atmosphere than duration. At only 41 seconds, the song feels airy and suspended, built around a soft female vocal delivering a simple, sincere declaration of affection. It’s sweet without becoming saccharine — a miniature moment of vulnerability that floats by before it has the chance to fully unfold.

With a breezy tropical pulse and a distinctly Colombian feel, this collaboration transforms a flirtatious encounter into a warm-weather fantasy. Mora, the Puerto Rican singer/rapper, delivers a sultry intensity as he sings about the magnetic aftermath of a night of drinks and a woman he can’t stop thinking about. Ovy on the Drums and Blanco keep the rhythm light and fluid, while Mora infuses a touch of dancehall flair into his vocal delivery. By the time the singer confesses to melting at her touch, the track fully embraces its sensual, easygoing charm.

The album’s reggaetón centerpiece turns up the heat without sacrificing polish. Over an atmospheric beat that gives the song plenty of room to breathe, Myke Towers slides into the role of a smooth-talking narrator pursuing a female conquest. His delivery is slick and packed with rhymes, balancing raunch with an almost old-school elegance. Lines like “Por amor nadie se muere” (“no one dies of love) and “Ya las heridas ya no le duelen” (“the wounds no longer hurt”) add a note of emotional detachment to the seduction. Blanco’s production keeps the track hazy and luxurious, making “Degenere” classy reggaetón with just enough trouble under the surface.

The Los Angeles-based band brings a mesmerizing bilingual sensibility to Hermoso, transforming the album’s pop palette into something darker and more like a dark-fantasy daydream. “Memoria de Paz” unfolds like a midnight reverie, with swooning vocals, subtle electronic flourishes and a sense of romantic mystery that lingers after the song ends.

Trumpets introduce a lovesick Netón Vega, who sounds emotionally adrift but vocally in complete command. The La Paz, Baja California Sur singer brings a regional Mexican sensibility to the track, while his agile phrasing occasionally approaches the cadence of a rapper. When he admits that he’s “un poco perdido” (“a bit lost”) and that a Colombian lady has him going crazy, the confession feels both wounded and playful. The arrangement gradually shifts into a more upbeat rhythm, allowing the song’s mariachi-tinged elements to give way to a brighter, more combustible finish.

Careless, confident and completely uninterested in playing it safe, this two-minute burst captures the reckless energy of being young and untouchable. Bb trickz, the Spanish rapper, delivers her verses with a cool, mellifluous flow over a breezy pop beat that keeps the song moving at a clipped, punchy pace. Her attitude is the hook: no sleep, no apologies and no interest in slowing down. “Joven y Salvaje” is short, but it leaves a big impression — a sharp, stylish burst of chaos that feels tailor-made for the album’s maximalist spirit.

From its instantly contagious refrain to its sultry cumbia groove, “Te Olvido (La La)” is Hermoso at its most irresistible. Selena Gomez and Becky G trade flirtatious verses about a player they can’t quite leave alone, bringing different shades of attitude to the song: Gomez sounds cheeky, while Becky adds extra bite. The arrangement moves with delicious ease, pairing cumbia sabrosura with a perfectly timed reggaetón break before returning to its addictive “oh la la la la” hook.

The song’s crossover appeal is reflected in its chart performance: It debuted at No. 14 on Billboard’s Hot Latin Songs, reached No. 2 on Hot Latin Pop Songs and No. 3 on Hot Tropical Songs. It’s a colorful, rhythm-forward track that makes Blanco’s entry into Spanish-language music feel natural, celebratory and built for repeat plays.