De La Ghetto is taking his break-up well.

The fresh-faced 27-year-old split up with his partner of three years, Arcángel, before the duo could release its highly-anticipated debut album. Arcángel y De La Ghetto earned a buzz with club-ready singles like Ven y Pégate (Get Close), Sorpresa (Surprise) and Ella Quiere (She Wants To) and appeared alongside Daddy Yankee, Don Omar and Wisin y Yandel on Mas Flow: Los Benjamins by Luny Tunes.

After management and label disputes, tiraera magnet Arcángel went solo, leaving De La Ghetto (Rafael Castillo) with doubts about his own solo career: "I was always worried that [fans] wouldn't support me, because Arcángel had many solo songs and I didn't have any." The Puerto Rican-Dominican began to fill out his resume by teaming up with Zion, Roc-a-fella rapper Memphis Bleek and Jamaican reggae artist Mavado. Sensación del Bloque (The Hit of the Block), De La Ghetto's collaboration with Randy, proved that "De La Geezy" could drop hits without his former partner.

Nicknamed "Mr. Versatility," De La Ghetto is prepping his solo debut, Masacre Musical, for a late September release. The album's first single, Es Difícil (It's Difficult), is an electro-R&B jam about learning to cope with a lost love. The New York-bred De La Ghetto promises hip hop, house, reggae, bachata and salsa on Masacre Musical, but quickly adds: "I'm not gonna forget about the reggaetón."

See: myspace.com/delageezy

Austin Santos, aka Arcángel, says he doesn't do reggaetón anymore. Instead, the 22-year-old, one-half of defunct reggaetón duo Arcángel y De La Ghetto, calls his style "electroflow."

Consider the Billie Jean-esque Chica Virtual from DJ Nelson's Flow La Discoteka 2 and the romantic boom bap of Quimica Sustancia, two tracks that sound closer to Timbaland than Luny Tunes, and it's clear Arcángel is on some next sh**. Yet, on Pa Que La Pases Bien, a romantic club jam, the cornrowed Arcángel shows he hasn't ditched the dem bow completely.

Born in New York and raised in Puerto Rico, Arcángel isn't just a lover. Much like 50 Cent, he appears to savor beef with fellow artists. Héctor "El Father," Jowell y Randy, Polaco and Lapiz have all engaged in battles with Arcángel in song and on YouTube. Arcángel claims self-defense: "I don't benefit from tiraera, the ones who end up benefiting are them, win or lose."

Originally signed to Zion's Baby Records, Arcángel got out of his contract when his solo debut, Diario De Un Soñador (Diary Of A Dreamer), was repeatedly delayed. Instead, he founded his own label, Flow Factory Inc. Arcángel's re-titled debut, La Maravilla, is scheduled to drop later this year. The album features production by Tainy (Luny Tunes), Nely (Daddy Yankee, Don Omar, Wisin y Yandel) and Mambo Kingz (R.K.M y Ken-Y).

But wait, there's more. Arcángel will also make his acting debut this year, starring alongside Alfonssina Molinari in the thriller Muerte En El Paraíso (Death In Paradise). Maybe Arcángel meant he doesn't do just reggaetón.

Nelson Martínez, aka DJ Nelson, is considered the "Godfather of reggaetón." His latest release, Flow La Discoteka 2, proves he's also one the genre’s innovators.

Flow La Discoteka 2 is anything but typical, as its best tracks seek to redefine reggaetón, most of them benefiting from slick production that may inspire Luny Tunes to go back to the drawing board. Flow’s glossy template takes cues from '80s icons such as Michael Jackson (Arcangel’s “Chica Virtual”) and the Eurythmics (O’Neil’s “Algo De Ti Me Llama”). Nelson summons Timbaland’s spirit on the grimy synth-drenched beats of Voltio’s “Dale Mami Damelo.”

Although it borrows heavily from past decades, Flow never feels outdated – even when Nelson throws in some techno on Zion’s “Que Pasará.” “Mal de Amores” borrows freestyle music from Black Eyed Peas and caps it off with Ñejo’s Tego-influenced flow. Rapper AJ defines the album's essence on the dark electro of “Love, Sex & Disco,” confidently proclaiming, “nueva música, nuevos estilos, reggaeton con mucha cosa” (new music, new styles, reggaetón with substance).

Unfortunately, the album is interrupted by cloying caribbean numbers and ends with the Menudo-like ballad “Gracias Mama,” an abrupt and disappointing ending to an otherwise exciting trip to the future.