This morning Rosalía (Sant Esteve de Ses Rovires, 28 years old) has released the second advance of her new album, mommy, which will see the light on March 18. The first single from the album was that almost conventional bachata presented at the end of 2021, less digital and dissonant than desired, entitled Fame and in which, once again, as usual since it was left behind evil wantsr, the Catalan shared the limelight with another artist, in this case The Weeknd. But Saoko, Daddy, Saoko it is something else.
In the theme, Rosalía flies alone and perches on whatever she wants. The song is the most experimental thing she has ever recorded, the weirdest thing since to pallet And maybe the best. In the barely two minutes that it lasts, Saoko explodes over a classic reggaeton beat, but saturated and distorted, with a broken organ that hums, a jazzy piano interlude and an overwhelming finale that is a soulful explosion of noise. Through the song the Latin appears, but also the crazy experimentation of Arca and that Kanye West who in 2013 launched Yeezus and decided that he was going to do something weird, industrial and psychotic that was going to sell as many records as the most conventional pop productions. He almost makes it. Rosalía has picked up that idea, even the winks to Nine Inch Nails that contained that opus by West, and has sewn them to reggaeton. The result is barbaric.
saoco It is an African term that became popular in some Latin American territories that means rhythm, joy, movement. It is also the title of a song by Daddy Yankee and Wisin released in 2004 and to which the Catalan woman pays homage in the lyrics of this song, which should be less controversial than those four verses of hentai that Rosalía sang to us from a chair lift and that provoked the indignation of many, surprisingly, not so much because of its profanity – that kneeling, as one kneels before God, to give fellatio, was overlooked – but because of the mixture of languages , the jargon zennialthe realization that the world is not going to stop moving and the indignation because it continues to do so when some have already decided to stop. Saoko round more the theme of personal reaffirmation, of the butterfly that transforms. To the relief of those who missed Homeric references in Rosalía’s lyrical production, here she gives us a couple of mentions of Troy. And for those who suffered to see her move away from the Hispanic tradition, there are also nods to the Spanish proverb. This coexists with tributes to Kim Kardashian and Vivienne Westwood and with an accent that, when she speaks is her own, when she sings it is confirmed as something transatlantic. That is also yours.
In the video of the theme released this Friday at six in the morning, Rosalía and a group of girls make a Fast&Furious on motorcycle. Syncopated, nervous and full of memorable images, the clip starts with a shot from inside the gas tank of a motorcycle and the Catalan filling it with the hose. What does not contaminate you, makes you stronger.
It is very likely that, after this song, some will give the Catalan for lost. But it was not her fault if someone thought at some point that we were dealing with the new Niña Pastori. It’s what it is to be young in a world full of older people who think they are. It’s the thing that, when they don’t understand you, they blame you for not explaining. It is what you have to have to explain things to people to whom you were not saying anything either. Rosalia has left. And it’s very likely that in a few years she’ll come back, she’ll pick up a little guitar and start out por bulerías. We can sit down and wait for her, with a kind of empty nest syndrome because the girl has been unruly, or we can follow her and enjoy the trip with her.
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