Arandela literally translates to "washer," like the small, flat ring used in mechanics. It's an unexpected and somewhat rare word to find in a song, especially in this context.
Milo J uses it metaphorically to describe people who are "en el medio como una arandela" (in the middle like a washer). This implies they are stuck, perhaps insignificant, or merely serving as a buffer, highlighting a unique and clever use of everyday vocabulary to convey a deeper meaning about people's roles or positions.
**“NO HAGO TRAP” feels like Milo J’s cheeky love-hate letter to the genre that put him on the map. From the very first line, he flips expectations: he claims he doesn’t make trap yet insists he is “more trap than trap.” With that playful contradiction, the young Argentine sets up a satire of the music industry’s hype machine, poking fun at how listeners and labels get “addicted” to whatever is trending, much like the crack metaphor he repeats. By calling trap both trash and his own playground, Milo critiques the genre’s clichés while bragging that he can bend or break its rules at will.
Beneath the swagger there is an introspective core. Between punchy refrains, he confesses to feeling disconnected, wrestling with ambition, fame, and the fear of death. He admits he has drifted from real friends, adopted habits that “aren’t so mine,” and sometimes scams himself in the chase for success. These vulnerable lines show a young artist searching for authenticity in an industry that rewards personas. In short, the song is a rebellious manifesto and a self-therapy session rolled into one: Milo J laughs at the trap formula, exposes its cracks, and still proves he can dominate it without ever labeling himself a “trap” artist.