Rosalía delves into the dark side of fame in the ‘deluxe’ edition of ‘Motomami’

Only six months ago, but it would seem that many more have passed since March 18, the date on which ‘Motomami’ was released. Enough for Rosalía and her derivative business conglomerate (Motomami SL, Sony Music) to release an increased version of the album, a ‘deluxe’ edition that hasn’t been long in coming, in search of a round figure, as usually happens, but we already have it here since this Friday. Claim: eight previously unreleased tracks, bringing the number of ‘tracks’ from the 16 on the original album to a total of 24. Beware: not all are new topics, either because ‘Despecha’ has been dancing on the platforms for a month, or because the list includes a ‘remix’ and a recording taken live. In fact, that cut called ‘Thank yu :)’ is not even a song, but a voice note in which Rosalía thanks those who have listened to the album. So let’s focus on the significant material that this ‘Motomami +’ offers, songs that stretch the concept of the album by sliding, again, various reading levels: behind the Latin venting of ‘Despechá’, to the beat of accelerated mambo, others make a place four substantial songs, which express more intimate anxiety than the desire to burn the night, called ‘Aislamiento’, ‘La Kilié’, ‘Lax’ and ‘Chiri’.

in love with the street

Of these, ‘La Kilié’ is the only one that has not been played live, and offers an abrupt synthesizer track on which Rosalía confesses “she sold like in the country of Chanel” and she ventures into shocking images: “If Moses parted seas, she hearts & rdquor ;. Rosalía more adventurous, avant-garde, than in the groundbreaking and very popular ‘Despecha’, an aspect that is accentuated if possible in the other three pieces, especially in ‘Chiri’. This composition, known throughout the tour as ‘Dinero y libertad’, rich in sudden swerves, with thick electronic backgrounds and a radical lyrical twist, on account of a musing about his status as a universal artist: “The street is in love, in love with me / And I am in love, in love with the street & rdquor ;.

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The theme is developed in ‘Isolamiento’, central song of this new batch, with a sinuous intimate path, with muted bursts of shrapnel in the background and a hypersensitive interpretation with a view to the loneliness of the celebrity: “It is the empire that destroys / The empress who builds it / It seems that the sky is split, but it does not matter / I’m young, I’m pretty, I’m sad and I’m bright.” From there to ‘Lax’, with its minute and a half of contained tension, expressing his suspicions around the status of famous figure on the helpless sustenance of a piano: “Someone new wants something from me / A lot more knives in the VIP / Nights alone and my party crew / This is how Ferraris crash.”

The public of Sant Jordi

These pieces connect with the restlessness that floats in the set of ‘Motomami’, related to pop star insecurities, and for that reason they appear inserted in the album, not as ‘bonus tracks’. There they intersect with the other two added songs, that ‘Candy – remix ft. Chencho Corleone’ (tuning by the Puerto Rican reggaeton player) and the live capture of ‘Fame – Live at the Palau Sant Jordi’, that makes its way through the applause and the ambient shouting, now devoid of The Weeknd’s voice. The song reserved to close ‘Motomami +’ remains the same as in ‘Motomami’, the majestic ‘Sakura’, emphasizing the idea of ​​a global work with a journey and meaning, and because when something works, it’s better not to touch it.

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Rosalía delves into the dark side of fame in the ‘deluxe’ edition of ‘Motomami’

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