HomeConcertRosalía’s MOTOMAMI Is a Hell of a Multi-Style Trip

Rosalía’s MOTOMAMI Is a Hell of a Multi-Style Trip

In late 2018, Rosalía captivated audiences with El Mal Querer, her breakthrough album the place she gave flamenco music a contemporary pop twist. Since then, the Spanish singer-songwriter has carried out world wide and expanded her sonic palette. In her follow-up, MOTOMAMI, she modifies lanes and subverts her pop and flamenco roots with international appears like reggaeton and bolero, all whereas reflecting on her newfound fame. Those that wished one other full flamenco affair like El Mal Querer is likely to be disenchanted, however MOTOMAMI is an thrilling detour the place Rosalía flexes her seemingly limitless artistry throughout 16 tracks.

MOTAMAMI is cut up between an aggressive MOTO aspect and a susceptible MAMI aspect. Rosalía rips into the album with the scorching “Saoko” — by which she interpolates “Saoco” by Puerto Rican reggaeton pioneers Wisin and Daddy Yankee right into a cyberpunk anthem that features a jazz breakdown. “Drag queen make-up, I remodel,” she declares in Spanish. Rosalía additionally alludes to tug queens within the funky “Hen Teriyaki,” which additionally introduced her numerous new listeners when carried out stay on SNL final weekend.



In some methods, MOTAMAMI might very nicely be like Rosalía’s drag persona, enabling her to stay bigger than life when she pleases. Like her drag make-up, the over-the-top album is co-produced by the singer and Noah Goldstein, who labored on Kanye West‘s My Lovely Darkish Twisted Fantasy. Very like Ye’s 2010 album, Rosalía’s new launch comes as she hits some extent in her profession the place it’s nearly unattainable for her to not mirror on her personal success not less than a bit bit.

Rosalía has reached a degree of fame the place the controversial intercourse icon generally known as the inexperienced M&M recreated the El Mal Querer album cowl on packages of the sweet. Within the quirky bachata monitor “La Fama,” she grapples with the toxicity of her fame alongside The Weeknd. “Fame’s a awful lover and gained’t ever love you for actual,” Rosalía muses. As part of that fame, she’s been criticized by flamenco purists for serving to to popularize the style together with her fusions and flamboyant fashion. On essentially the most flamenco-heavy monitor on MOTOMAMI, “Bulerías,” Rosalía takes a stand and defends her place. “I’m as a lot of [flamenco singer] once I’m sporting a Versace tracksuit,” she belts, channeling her flamenco self-discipline into an empowering second of resistance.



Even the MAMI aspect of the album nonetheless has a little bit of her signature edge. Each worlds collide within the hypnotic “Diablo,” the place reggaeton beats meet flamenco melodies. In singing in regards to the fickleness of fame (as soon as once more), James Blake glides in as a voice of purpose. With the commercial banger “CUUUUUuuuuuute,” the cyber bounce is interrupted for a second for Rosalía to plead to the late Princess Diana to “take [her] away from right here.” Then there are the ballads on MOTOMAMI — like “Como Un G” and her cowl of Cuban icon Justo Betancourt’s “Delirio De Grandeza” — that are each breathtaking with Rosalía’s emotive performances.

Maybe essentially the most placing music is the finale, “Sakura,” the place Rosalía has her “Don’t Cry For Me Argentina” second. Her haunting voice soars over a roaring viewers as she ponders the value of fame. “I’m on this to interrupt issues up, and if I break with this, then I’ll break,” Rosalía proclaims. It caps off the surreal expertise of MOTOMAMI with the modern fusions and experimental studio results all through the album. If El Mal Querer put her on the map, the singer’s third album clearly shifts Rosalía’s music profession into the following gear and speeds towards a future the place pop music isn’t outlined by one language.



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