Learn Spanish With YSY A with these 23 Song Recommendations (Full Translations Included!)

YSY A and Oniria's

In "CUÁL?", which translates to "Which?", the artist paints a picture of a life filled with searching and ambition. He's on a quest for several things at once: success, love, and the perfect creative moment. The lyrics describe him as being "addicted to great results" and always looking to have more than he's used to, all while trying to leave "evil aside" in a "city, a collector of sins."

The central theme revolves around the question "Which one?" He wonders which street will lead him to a special woman, which exact minute will be the right one, and which look from her will make him "fly." This search for a specific person and a perfect moment is intertwined with his artistic journey, as he also asks which song will be the one to capture his listener's heart. It's a song about navigating the city, chasing big dreams with his team by his side, and hoping to find that one specific connection that will make it all worthwhile.

Have you ever been in a relationship that's just... too much? That's exactly what YSY A, Duki, Oniria, and Yesan 雪山 are singing about in "NO DA MÁS." It's all about that frustrating cycle where you know each other so well, yet sometimes feel like strangers. They sing, "Nos conocemos tanto y a veces somos extraños" [We know each other so well and sometimes we are strangers], and it really hits home.

The song explores the push and pull of a love that's both good and bad for you, asking, "¿Cómo algo que te hace tan bien te hace tanto daño?" [How can something that does you so much good do you so much harm?]. They're tired of the constant arguments and the feeling that they're just going in circles, even saying, "Discutiendo sin razón" [Arguing without reason]. It's a raw look at a relationship that's reached its breaking point, where they admit, "Si seguimos así, nos vamos a odiar" [If we continue like this, we're going to hate each other]. But even with all the drama, there's still that deep connection, like when they say, "Cuando te estés por ahogar, yo soy tu salvavidas" [When you're about to drown, I am your life preserver]. It's a relatable anthem for anyone who's been stuck between loving someone and knowing it's just not working anymore.

YSY A's "EN LA JUNGLA" throws us right into a wild, untamed world, comparing the music scene to a jungle where only the strong survive. He humorously mixes pop culture references like "Timón y Pumba con King Kong bajo la tumba" [Timon and Pumbaa with King Kong under the tomb] with the intense heat of the trap scene: "el sol está más trap que nunca" [the sun is more trap than ever].

He's pretty blunt about how he sees other artists, calling them "super pop" and "Rumba," and even comparing them to a "mal chiste de Yayo, corte Xuxa" [bad Yayo joke, like Xuxa]. YSY A makes it clear that his trap isn't for everyone, saying it's "no apto para emisoras" [not suitable for broadcasters] and full of "mucha posta en una letra sola" [a lot of truth in one lyric]. He's all about his team, stating "Mi equipo está al frente, la envidia quiebra, lo mismo de siempre" [My team is in front, envy breaks, same as always], showing that in this jungle, some fall apart while others build something new.

YSY A's "INSPIRACION DIVINA" is all about the intense, almost desperate need for that one special muse. He's not just looking for a casual fling; he wants this inspiration in his bed, "como quise siempre" [as I always wanted], to heal his "dramas" and "mente" [mind]. It's the kind of inspiration that always wins and rarely loses, the one everyone calls but few get to reach.

He makes it clear that without this divine inspiration, nothing else matters. "Si no estás conmigo ¿de qué sirve el oro?" [If you're not with me, what good is gold?], he asks, dismissing drugs, other correctives, and even goddesses. All the traps and distractions outside, the other trappers trying to sell their sound, mean nothing to him. His mission is clear: "tener en mi cama a la inspiración" [to have inspiration in my bed]. She's a "maldita bendición" [damned blessing], and he wants her there "sin más condición" [without any other condition].

This one is a postcard. YSY A is late, as usual ("nos conocen por ser los que más tardan", they know us for being the ones who take the longest), riding a "lancha" (a small motorboat) through streets that are "como en Venecia las cuadra'" (like the blocks in Venice). That sounds like the Tigre delta outside Buenos Aires, where boats are the buses. And what he loves most is simple: "tu cara viendo cómo pega el sol sobre el agua" (your face watching how the sun hits the water).

That image is basically the whole chorus, repeated until it feels like a lazy afternoon. The verses sneak in more: skin that tells him things, "lo mío por los míos viene" (what's mine comes for my people), and a promise, "pase lo que pase yo voy a regresar" (whatever happens, I'm coming back). By night the sun is gone and it gets more physical, but he keeps steering back to that face on the water.

The title is a squashed-together Argentine command: "Perdámono'" is "perdámonos" with the final s dropped, and it means "let's get lost". That is the whole pitch. YSY A has spent too much time "preso del amor" (a prisoner of love), and now he wants to spend that time getting lost together instead, "yo por vos, vos por mí, de esta farsa vámonos" (me for you, you for me, let's get out of this farce).

The escape is half romantic, half bedroom. There's a sunset, a world outside where "solo hay traición" (there's only betrayal), and then a blunt "hagámo' un pacto sobre el colchón" (let's make a pact on the mattress). He also slips in a goofy line about "perdiendo el colesterol, adelgazando sobre mi flow" (losing cholesterol, slimming down on my flow), which is a bit much and clearly meant to be.

Watch the ending flip. The verse says "de perdernos hay perdón" (there is forgiveness for getting lost), and the outro keeps chanting "no hay perdón" (there is no forgiveness). Also note the rioplatense "vos" for "you" and "beba" (baby), very Buenos Aires.

YSY A builds this whole song around one loop of a hook: "Ella es todo lo que quiero y algunos dicen que la vieron por la ciudad" (she's everything I want and some people say they saw her around town). He has heard about this girl, people swear she's out there, and then finally: "es la primera vez que la veo" (it's the first time I see her). The repetition is the point. It sounds like someone replaying the moment in his head.

Around that sweet chorus there is a darker frame. "Buscando la cura en venenos" (looking for the cure in poisons) and "nuestros corazones tan buenos están tan mal" (our hearts, so good, are so bad off) tell you this is someone fixing a bad night with more bad nights. The verses are full of drinks, deleted chats ("borré las conversaciones", I deleted the conversations) and asking God for forgiveness "otra vez" (again).

Listen for the Argentine flavour too. He switches to "vos sos" (you are) near the end, the rioplatense way of saying "tú eres", and "nos vimo'" is a clipped "nos vimos" (see you, we're done), the casual way of ending something.

"Quiero sacarte to', quiero sacarme to'" (I want to take everything off you, I want to take everything off me) is about as direct as an opening gets. "To'" is "todo" (everything) clipped the Argentine street way, and "sacar" here means to take off clothes. YSY A wants more than skin, though: "quiero mirar en tu interior" (I want to look inside you) and "mirarte como no lo hacen" (look at you the way others don't).

The verse turns it into a treasure hunt, with a cheeky "hay un mapa en mi pantalón" (there's a map in my pants) and "busquemos por partes, el tiempo es arte" (let's search piece by piece, time is art). Then it gets darker: his "voz envenenada danza en estos trap'" (poisoned voice dances on these trap beats), and he dissolves "algo nuevo que me haga mal" (something new that will hurt me) because for a moment it makes him feel good. "Gocemo' culpables" (let's enjoy ourselves guilty) sums up the mood.

YSY A's "CUANDO FUE?" featuring ClubHats and SPONSOR DIOS is a reflective track where the artist grapples with his rapid growth and success. He opens by asking, "¿Cuándo fue? Que crecieron tanto Estos pies" [When was it? That these feet grew so much], marveling at how quickly things have changed. He admits to still being late sometimes, but confidently states, "Nunca me sale mal lo que solo yo sé hacer" [What only I know how to do never goes wrong for me].

The song is full of clever lines, like when he talks about bringing "un balde de agua para la sed" [a bucket of water for the thirst] and offering "Historias de verdad, no fotos de internet" [True stories, not internet photos]. He's a bit nostalgic, wondering "¿Cuándo fue, o fue así siempre?" [When was it, or was it always like this?] and noting that he barely remembers things from ten years ago, even though he's only in his twenties. He also boasts about his unique style, claiming "Mi bloc de nota' a ciega' Mi flow la jugada estratega" [My notepad blind My flow the strategic play], comparing himself to legendary soccer players Riquelme and Ortega. It's a fun, confident look at an artist who's come into his own.

YSY A's "Un Flow De Infarto" featuring Bizarrap is a high-energy track that throws you right into the artist's world. He wakes up to a messy room, surrounded by clothes and a "flow de infarto" [a heart-stopping flow]. He's got the whole neighborhood wondering how he does it so well, and he's not shy about his success, even if he started with nothing: "que yo no tenía ni un perri, igual la traje a comer" [that I didn't even have a penny, I still brought her to eat].

He talks about getting lost in his own lyrics, speaking "prácticamente otro idioma, cosa que ni yo me entienda" [practically another language, something that not even I understand]. There's a funny, slightly chaotic vibe as he calls out to Bizarrap to finish the track, revealing they're from the same generation, "cosecha del '98" [harvest of '98]. YSY A proudly declares that their Argentine music is making history, playing everywhere from "jodas de chetas y rochos" [parties of rich kids and rough guys]. He sees himself as a man who provides, someone who has adapted to the grind: "Adaptarse al clima o morir arriba" [Adapt to the climate or die at the top]. It's a look at his life, his hustle, and his undeniable impact on the music scene.

YSY A's "UN PISO MÁS" is a high-energy anthem about relentless ambition and reaching new heights, both literally and metaphorically. He's not just aiming for the top; he's aiming for a level "que ni el diablo conoce" [that even the devil doesn't know]. The repeated phrase "Un piso más" [One more floor] isn't just about climbing a building, it's about constantly pushing boundaries, seeking "más misiones" [more missions], and leaving everyone else behind.

YSY A also brings his signature swagger, describing how his natural flow is intoxicating, even to someone who's "re sintética y quería estar loquísima" [really synthetic and wanted to be crazy]. He sees himself as a force of nature, an "YSYSMO" that's synonymous with "demoliciones" [demolitions], shaking things up and making an unforgettable impact. It's a bold declaration of his artistic power and his unstoppable rise to the very "cima del sol" [top of the sun].

YSY A's "DORMIR ES PARA GILES" is all about that grind, that hustle, and the idea that sleeping is for suckers! He's basically saying if you're not out there making moves, you might as well stay in bed. The title itself, "Dormir es para giles" [Sleeping is for fools], sets the tone, but he quickly adds a twist: "más de gil es / Estar despierto viendo todo el tiempo que perdés" [it's even more foolish / To be awake watching all the time you lose]. It's a blunt call to action!

He's living proof of this mentality, claiming he doesn't even know how to sleep because he's so busy. YSY A flexes about his success, from his growing shoe size to building an empire at 23. He's confident in his rhymes, comparing them to attractive women who also become friends. This track is a high-energy declaration of ambition, a warning against wasting time, and a celebration of constant effort. He's not just talking the talk; he's walking the walk, and he's definitely not recommending sleep to his crew!

YSY A's "TRAP DE VERDAD" is a fiery declaration of authentic trap music, straight from Argentina. He's not just singing about where he's from; he's embodying it, saying, "Soy del lugar que represento, del que canto y cuento" [I am from the place I represent, the one I sing and tell stories about]. He believes his music has a genuine "cuerpo" [body] compared to others who might have "caras más caras con repros compradas" [more expensive faces with bought reproaches].

This track is a call to action, urging everyone to "Vámonos que afuera está prendido fuego" [Let's go, it's on fire outside] because "El trap está en la calle con sonidos nuevos" [Trap is in the street with new sounds]. YSY A is all about that "receta argentina pura y fina, de verdad" [pure and fine Argentine recipe, truly], contrasting it with "desastres sin nacionalidad" [disasters without nationality]. He's confident in his sound, even challenging the idea of what trap is, asking, "¿Esto es trap o no es trap?" [Is this trap or is it not trap?]. He's calling out fakes who "hablan cosas que no viven" [talk about things they don't live] and asserting that his music is the real deal, a true "historia de verdad" [true story].

YSY A, ClubHats, and SPONSOR DIOS bring us "QUE DESVELO," a track that throws us right into the heart of the city's restless energy. The lyrics describe the constant "ruido de la ciudad que no va a dejarte dormir" [city noise that won't let you sleep], a feeling many of us know. It's about a world where people are always competing, always watching, and can't seem to rest, as if they're "apostando por ver quién se va a resistir" [betting on who will resist].

But amidst all that chaos, the artists are wide awake and thriving. YSY A talks about flying high, feeling on top of the world: "Solo me acerco a la cima por todo lo bien que me muevo" [I only get closer to the top because of how well I move]. He's focused on his craft, his growth, and making money, even referencing his brother planting something that's not just a restaurant mine, hinting at something bigger. It's a cool look at staying true to yourself and your hustle, even when the city never sleeps and everyone else is caught in the grind.

YSY A's "UNA DOSIS" (A DOSE) featuring ClubHats, SPONSOR DIOS, and Sixto Yegros pulls you into a world of intense cravings and fleeting escapes. The song is all about that insatiable desire for "una dosis más" (one more dose) – whether it's a feeling, a person, or something more illicit – to forget the past, even when you've sworn it's the last time.

He talks about how "afuera se frena el tiempo mientras vos mirás" (outside, time stops while you watch), suggesting a powerful, almost hypnotic pull. The lyrics paint a picture of a dangerous allure: "Tiene un sabor y unas maneras que te van a matar" (It has a taste and ways that will kill you). YSY A even calls himself "como la droga en el asfalto" (like the drug on the asphalt), showing how deeply he embodies this addictive quality. It's a wild ride through a night of excess, where the lines blur between pleasure, memory loss, and a relentless pursuit of the next high.

YSY A's "DE CASA EN CASA" is a high-energy track about the non-stop hustle of a successful artist. He's not literally moving house, but he's constantly on the go, bringing his music "de casa en casa" [from house to house] to new audiences. It's a demanding lifestyle, requiring "una mano de obra que no pausa" [labor that doesn't pause].

He dreams big, wanting to reach every corner of the globe, with lyrics like "quiero una de Europa y otra de Asia, una de África y otra de Oceanía" [I want one from Europe and another from Asia, one from Africa and another from Oceania]. He's always working, always creating, making "los hit que más giren al mundo" [the hits that spin the most around the world]. It's a wild ride, flying "sin equipaje" [without luggage] and constantly changing "paisaje, cambio de lenguaje, cambio de equipaje" [scenery, language, luggage]. Even with all the travel, he's still focused on making money, "subiendo la paca y vuelvo a mi país" [stacking the cash and returning to my country]. It's a fun look at the relentless pace of an artist at the top of their game!

YSY A's "COMO LO COME" featuring ClubHats and SPONSOR DIOS is all about a woman who is incredibly captivating and powerful. The lyrics are full of admiration for her confidence and how she handles herself. The song repeatedly emphasizes "Miro cómo come" (I watch how she eats), which isn't just about food, but about how she consumes life and everything in it. She's so impressive that "las anteriores quedan inferiores" (the previous ones are inferior).

She has an "alma que te absorbe" (a soul that absorbs you) and can "Mata to' tus problem'" (kill all your problems). The song describes her as always looking good, never missing a "menú" (meal, or opportunity), and having a "paladar que no acepta perdones" (a palate that doesn't accept forgiveness), meaning she knows what she wants and isn't settling for less. She's a force to be reckoned with, making everyone pay attention, and the singer is completely smitten, even saying "A esa boca le tendrían que pagar por haber venido" (They should pay that mouth for having come). He sees her as a "bendición" (blessing) and declares, "es la mejor" (she is the best).

YSY A's "Oro Y Platino" is a powerful anthem about his rise and impact on the Argentine trap scene. He's not just making music; he's shaping culture, comparing his influence to a publicist with billboards all over Argentina saying 'Modo' [Mode].

He sees himself as a father figure to the genre, leaving the 'dogs to bark' and 'cats to meow' while he focuses on his craft. The song is full of confidence, with YSY A declaring that the sun sees Argentina's flag as 'oro y platino' [gold and platinum] because of his success. He's so sure of his legacy that he believes he'll even be on banknotes someday! It's a bold declaration of his unique voice and his deep connection to his homeland.

YSY A, along with ClubHats, SPONSOR DIOS, Aleman, and Pablo Chill-E, brings us "INOLVIDABLE" (Unforgettable), a track that's all about making a lasting impression and living life on your own terms. From the jump, YSY A declares, "Acá el precio no es charlable / Si cada vez que paso dejo un piquetazo de la concha de su madre" (Here the price isn't negotiable / If every time I pass I leave a motherf***ing mark). It's a bold statement about his impact and how he's not just chasing money, but aiming for immortality through his unique style.

The song is packed with vivid imagery of unforgettable moments, from the roar of the crowd shouting "Indomable" (Untameable) to a woman's captivating presence. The artists boast about their unmatched flow, claiming it comes from a place "que ninguno 'e tu equipo imagina" (that none of your team imagines). They compare their unforgettable presence to significant firsts in life – like a first joint, a first kiss, or even the day you achieved a major goal. It's a celebration of their success, their street credibility, and their undeniable mark on the music scene, making sure you won't forget them.

YSY A, ClubHats, SPONSOR DIOS, and El Doctor bring a high-energy track where they assert their dominance in the rap game. They've come from a tough life and are now enjoying success, while other rappers are struggling, calling them out for being in a "crisi'" [crisis]. They mock these other artists, saying they "me copian los temas" [copy my songs] and "no le pegan ni al beat" [can't even hit the beat].

The repeated line "En el infierno no los vi" [I didn't see them in hell] is a powerful statement. It means these other rappers haven't been through the same struggles or faced the same hardships as the artists in this song. They haven't been to "hell" and back, so they can't claim the same authenticity or street cred. The song also features some pretty wild imagery, like being "más drogado que Freddy Mercury" [more drugged than Freddy Mercury] and a sudden request for "Nesquik" – a fun, unexpected twist in a song full of bravado and disses.

YSY A, with ClubHats and SPONSOR DIOS, brings us a track all about a powerful female figure. He calls her his "asesina a sueldo" [hitwoman] and says she's been his friend since childhood, even before he got into trap music. She's ambitious, always thinking about getting rich, and will "quema por dinero hasta que el hielo se derrita" [burn for money until the ice melts].

This friend sounds incredibly confident and makes a big impression, with YSY A describing her entrance by saying, "'Adivinen quién soy', dice el culo de ella entrando a la avenida" ['Guess who I am,' her ass says entering the avenue]. He even brags that with her, "tus putas parecen poca' aunque sean muchas" [your bitches seem few even if there are many]. It's a blunt and bold song about loyalty, ambition, and making money, all wrapped up in a raw trap sound that he claims "hasta Dios escucha" [even God listens to].

YSY A's "SEA LA HORA QUE SEA" is all about that non-stop hustle and grind, no matter what time it is! He's got messages piling up, but he's too busy making moves. He says, "La beba quiere que la lea y yo que no leo ni lo que pago" [The girl wants me to read her messages, and I don't even read what I pay for], which is a pretty funny way to say he's got bigger things to focus on.

The song really emphasizes the idea that there's always something to do: "Hay que terminar la tarea / Re-stockear la heladera / Hacer los flow' que tararean" [You have to finish the task / Restock the fridge / Make the flows that people hum]. It's about working hard, staying productive, and making sure the money keeps coming in, even if it means staying up late. YSY A is basically saying, don't look at the clock, just get it done!