The electrifying nasal flow that drives El Mellao belongs to Julio Ramos, better known as Voltio (voltage), one of the best reviewed – yet, often overlooked – reggaetón artists in the game.

Born in Santurce, Puerto Rico, Voltio began rapping in his teens alongside Rey 29 and Héctor "El Father" in a trio called The Masters of Funk. The trio struggled to get signed – it was the mid-'90s and reggaetón was still too ghetto for radio – and eventually disbanded. For Ramos, the next few years would land him in jail, see him electrocuted and thus reborn as Voltio.

In 2003, Voltio landed an indie recording deal with reggeatonero Karel and the pair released their debut,
Los Dueños del Estilo. A year later, Voltio went solo, eventually signing with While Lion Records after Tego Calderón recommended the thirty-something to label founder Elías De León. Although his solo debut, Voltage AC, was well-received, it wasn't until Voltio released his eponymous sophomore effort that he scored a bona fide hit: the cheeky "Chulin Culin Chunfly" featuring Residente of Calle 13 – memorable for both its witty lyrics and comedic music video.

Voltio's forthcoming release, En Lo Claro (In The Clear) features all-star appearances from Calle 13, Tego Calderón, Jowell & Randy, Arcángel, Pirulo, Cucu Diamantes, and Vivanativa, as well as production from heavy-hitters DJ Nelson, Nelly, DJ Dan and Wise.

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Although it borrows heavily from past decades, Flow never feels outdated – even when Nelson throws in some techno on Zion’s “Que Pasará.”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.