The first strains of “Malamente” were more than just musical notes to me; they were questions. When I first stumbled upon Rosalía, it was as if a torrent of enigmas wrapped in a riddle were unleashed within me, and I couldn’t help but ponder, who was this artist who had orchestrated such a captivating blend of contemporary urban beats and traditional flamenco? I could sense the complexity and richness intertwined within the lyrics, the verses, and the rhythms, yet I struggled to pinpoint exactly what it was that had me so engrossed. It felt like I was standing on the brink of an auditory adventure, eager to delve deeper into the mysteries that lay within Rosalía’s music.
As I immersed myself further, exploring her album “El Mal Querer,” I was greeted by a series of songs, each a chapter in a narrative, bearing a traditional name alongside. It was like navigating through a well-curated gallery, each piece holding its identity yet contributing to a grand, coherent tale. I was smitten, captivated by the innovative approach that married flamenco with fresh, pulsating beats but from various angles. But the deeper journey was yet to begin, as I delved into the genesis of this masterpiece.
It was mind-boggling to learn that “El Mal Querer” originated as Rosalía’s graduation project during her bachelor’s in music at the Escola Superior de Música de Catalunya. Drawing inspiration from the 13th-century anonymous narrative, “El Román de Flamenca“, each track on the album encapsulated elements from the chapters of this historic literary work, bringing them to life in a vibrant, new-age auditory canvas. It was as if she had resurrected an ancient story, injecting it with an infectious modern heartbeat, and I couldn’t help but fall head over heels for the intricacies of her artistry.
But understanding Rosalía, the mastermind behind this innovation, became my next fascination. She was not just an artist but a force, a challenge, pushing the boundaries of music with her conceptual and experimental approach. Through numerous insightful analyses by online experts, I began to grasp the depth of her genius that made “El Mal Querer” a powerhouse of unique, potent sound. Although initially unaware of these details, I recognized the monumental effort, reflection, and labor invested in crafting this piece, making her rise to global stardom no surprise.
Even as some critique her for venturing into the realms of more “commercial” genres, ranging from American pop to Latin reggaeton, I find myself increasingly amazed by her evolving sound landscape. With her 2022 album “Motomami,” Rosalía continues her audacious journey, resurrecting imagery of vehicles, suburbs, truckers, motorcycles, engines, and old factories – elements she had previously woven into her narrative – and offering a fresh aesthetic and rhythmic construction. It seems, with every step, Rosalía is not just making music; she is crafting her very own genre, constantly surprising, and endlessly captivating.
Me da miedo cuando sales
Sonriendo pa’ la calle
Porque todos pueden ver
Los hoyuelitos que te salen
Y del aire cuando pasa
Por levantarte el cabello
Y del oro que te viste
Por amarrarse a tu cuello
Y del cielo y de la luna
Porque tú quieras mirarlo
Hasta del agua que bebes
Cuando te mojas los labios
Pienso en tu mirá, tu mirá clavá es una bala en el pecho (3x)
Pienso en tu mirá (2x)
[…]
A Catedral e o Bazar 