Label volunteer Laura Gray argues why she considers Rosalía’s most recent album both a lyrical masterpiece, and the album of the year.
Rosalía is an unstoppable flamenco-pop force from Spain.
Her first self-produced, self-written album in collaboration with El Guincho was also coincidentally her final university project, named: “El Mal Querer”. It was a non-autobiographical, sonic remake of the Medieval novel “La Flamenca”, detailing a woman being incarcerated by her husband due to fear of her committing adultery. Stepping into this territory, she was labelled as a feminist, classy, yet rebellious woman.
This time around, with MOTOMAMI, her sophomore album, Rosalía is more personal with her writing as she showcases her vulnerable side. She metaphorically suggests this with her decision to pose nude for the album cover. It is still minimalistic, and the voice is the main instrument. Many fans were disappointed as, sonically, Rosalía made the bold move to step into the eyebrow-raising genre reggaeton, often perceived as a genre of sexism and lack of class. On the surface, therefore, this move made people believe she threw her image away and she became someone more compliant, someone who is simply a part of the masses. Submerging yourself into this album however, you realise exactly the opposite.
I believe Rosalía is simply experimenting with her sound and keeps her lyricism, metaphors, and gorgeous vocals on the more special cuts. This album has it all: experimentation that sounds like something “Arca” would make, beautiful ballads, vocals, and fun tracks.
In the MOTOMAMI World Tour, Rosalía cuts off her extensions and removes her makeup in front of the crowd for the second half of the show, suggesting that this album can be divided into two parts, one which is compliant to the trends in the music industry, and one where Rosalía is blatantly honest and herself. In the experimental track “CUUUUuuuuuute”, she mentions: “to see butterflies, you need to let them out”, meaning, to let yourself evolve you must allow for self-expression and honesty. This track is a standout because of its experimentation and crazy sonic changes. Butterflies are constantly mentioned in the album as a metaphor for change and evolution amongst many others. There is plenty to pick apart in the sound and storytelling of the album.
Lyrically, Rosalía is a poet. She deals with the struggles she had with fame. She compares fame to a treacherous lover in a relationship who you can never commit yourself to, (as it can never last) in her song: “LA FAMA” (the fame). The song of the year in my eyes, the last track, and a piano ballad: “SAKURA”, compares fame to the ephemeral cherry blossom, Sakura trees. She tops it off with soul piercing vocals and a crazy vocal range. She reflects on fame saying it can also be beautiful because of how fragile and dangerous it is, and mentions: “flames are beautiful because they have no order, and fire is beautiful because it breaks everything”.
Rosalía also dedicates a song to her cousin in “G3 N15” (the 15th of March being when confinement started in Spain) with beautiful lyrics and vocal harmonies. She acknowledges her change with fame or at least this perception in her song “DIABLO” (Devil) mentioning “the person in TV is not who you were, I don’t even know who you are anymore. Devil”.
In conclusion, MOTOMAMI holds more than meets the eye and I believe is potentially the best album of the year, especially for people who like to analyse art. Rosalía analyses her evolution and encourages it too, looking back at her journey. She is a brilliant, honest songwriter and vocalist. She is brilliant with metaphors, especially in “SAKURA”, a must-listen in this album.
Label Volunteer Laura argues just why she believes Rosal
Rosalía is an unstoppable flamenco-pop force from Spain.
Her first self-produced, self-written album in collaboration with El Guincho was also coincidentally her final university project, named: “El Mal Querer”. It was a non-autobiographical, sonic remake of the Medieval novel “La Flamenca”, detailing a woman being incarcerated by her husband due to fear of her committing adultery. Stepping into this territory, she was labelled as a feminist, classy, yet rebellious woman.
This time around, with MOTOMAMI, her sophomore album, Rosalía is more personal with her writing as she showcases her vulnerable side. She metaphorically suggests this with her decision to pose nude for the album cover. It is still minimalistic, and the voice is the main instrument. Many fans were disappointed as, sonically, Rosalía made the bold move to step into the eyebrow-raising genre reggaeton. Reggaeton is a genre known for its sexism and lack of class, and due to some shallow lyricism in “CHICKEN TERIYAKI” and other songs of the reggaeton genre in the album. On the surface, therefore, this move made people believe she threw her image away and she became someone more compliant, someone who is simply a part of the masses. Submerging yourself into this album however, you realise exactly the opposite.
I believe Rosalía is simply experimenting with her sound and keeps her lyricism, metaphors, and gorgeous vocals on the more special cuts. This album has it all: experimentation that sounds like something “Arca” would make, beautiful ballads, vocals, and fun tracks.
In the MOTOMAMI World Tour, Rosalía cuts off her extensions and removes her makeup in front of the crowd for the second half of the show, suggesting that this album can be divided into two parts, one which is compliant to the trends in the music industry, and one where Rosalía is blatantly honest and herself. In the experimental track “CUUUUuuuuuute”, she mentions: “to see butterflies, you need to let them out”, meaning, to let yourself evolve you must allow for self-expression and honesty. This track is a standout because of its experimentation and crazy sonic changes. Butterflies are constantly mentioned in the album as a metaphor for change and evolution amongst many others. There is plenty to pick apart in the sound and storytelling of the album.
Lyrically, Rosalía is a poet. She deals with the struggles she had with fame. She compares fame to a treacherous lover in a relationship who you can never commit yourself to, (as it can never last) in her song: “LA FAMA” (the fame). The song of the year in my eyes, the last track, and a piano ballad: “SAKURA”, compares fame to the ephemeral cherry blossom, Sakura trees. She tops it off with soul piercing vocals and a crazy vocal range. She reflects on fame saying it can also be beautiful because of how fragile and dangerous it is, and mentions: “flames are beautiful because they have no order, and fire is beautiful because it breaks everything”.
Rosalía also dedicates a song to her cousin in “G3 N15” (the 15th of March being when confinement started in Spain) with beautiful lyrics and vocal harmonies. She acknowledges her change with fame or at least this perception in her song “DIABLO” (Devil) mentioning “the person in TV is not who you were, I don’t even know who you are anymore. Devil”.
In conclusion, MOTOMAMI holds more than meets the eye and I believe is potentially the best album of the year, especially for people who like to analyse art. Rosalía analyses her evolution and encourages it too, looking back at her journey. She is a brilliant, honest songwriter and vocalist. She is brilliant with metaphors, especially in “SAKURA”, a must-listen in this album.
Edited By: Rachel Cannings (Culture and Entertainment Editor)
Design By: Sarim Mangi
