MOTOMAMI by Rosalía | Album Review

The follow-up to the Spanish singer's 2018 critically-acclaimed and award-winning “El Mal Querer” is genre-bending and expands her skill to the next level.

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The second studio album from the Spanish singer showcases her versatility and ability to expand musically in other styles. It's genre-bending and playful across reggaeton and experimental. It's as reverent of SOPHIE and Arca as it is of Daddy Yankee and Wisin.

Score: 10/10 (Best New Music)

To know Rosalía is to know three different types of her: The vocally-arresting Flamenco singer, the ravishing female Reggaeton banger, and the experimental bashing producer referencing and sampling TikToks. While her first two records “El Mal Querer” and “Los Angeles” were mainly Flamenco records with the hint of female R&B crossover, her third LP, the long-awaited "MOTOMAMI" takes whatever she's made in the past and revamps it to a playful, austere showcase of all her talents, making it the Yeezus as it is the K.A.L.A to her discography. What makes MOTOMAMI so different from the other albums she's released is the range, the versatility, and most importantly, the production.

MOTOMAMI starts with the balmy, Y2K reggaeton-reverent “SAOKO” sampling Wisin y Daddy Yankee’s 2004 hit single “Saoco”, over a smattering set of drums and soft vocal chops. While the previous set of promotional singles barely did justice to the album, “SAOKO” brings the overall aesthetic and thematical image to the table of juxtaposition that MOTOMAMI is. The synths and melodies are soothing and force you to pay attention in songs like "G3 N13" or "COMO UN G" as if they were to be starred in a parallel universe. The similarities of those records are that they are the ballads of MOTOMAMI, and yes, surprisingly, there is balladry in this album, but what's not to like about balladry if it's Rosalia's voice.

Oh, and that voice, that stunning voice! While this is a partial, experimental, album, the vocal power and strength that Rosalia holds, is reminiscent all around the set. "HENTAI" is a shattering piano melody, accompanied by gun-shot percussions, making it the meme, but the saga of MOTOMAMI. The closer, "SAKURA", starts with fans on her "El Mal Querer" tour screaming her name, and then she introduces herself with the most heavenly belts she's ever voiced. Sakura is a Japanese cherry blossom by the way, and that's exactly what the song is. The last 15 seconds of the canzone belting is enough to make you cry. The power of her vocals in comparison to the electronic and glitchy elements is Rosalia's best skill.

Sadly, the transitions on the tracklisting aren't Rosalia's greatest turns of the several genres she has in her hands. But the skill she displays at each is unlike any other. And don't think she's left her last styles behind, the lone Flamenco track "BULERIAS" is a traditional clap-back to the controversy she's surrounded with on the daily and her identity as a Catalan woman. Of Catalan, then comes "DELIRIO DE GRANDEZA", a revamp of the great Cuban salsero Justo Betancourt's original. Not only does she do it like the greatest of singers in the tradition, but she also transitions in a Soulja Boy sample from 2009, titled "Delirious." What's also delirious about Rosalia is her takes on dembow and reggaeton on "CHICKEN TERIYAKI" and "BIZCOCHITO" because, hey, you can't belt all damn day. She's playful and she knows it.

It's as reverent of SOPHIE and Arca as it is of Daddy Yankee and Wisin. She's having fun and she wants the whole world to know. "CUUUUuuuuuute" is a perfect example of that. The counting from 1 to 21 is a sample from TikTok merging into an Arcan sway of percussions and basslines. She brings on a load of people for the production as well. The title track "MOTOMAMI" is produced by Pharell Williams and The Neptunes, featuring their vocals and soulful melodies, reminiscent of rapper adlibs like Travis Scott, who Rosalia's previously worked with. Before MOTOMAMI was released, the past few years of singles and collaborations have given an input of what MOTOMAMI came to be. "TKN" with Travis Scott, "LINDA" with Dominican-dembow artist "Tokischa", "Con Altura" with J Balvin, and long-time producer and the mastermind behind Rosalia's albums, El Guincho. It sets out what it works to achieve behind all its chaos. It feels extremely rare to hear an album that plays around so many genres and styles and is experimental. The final words of MOTOMAMI are “​​Solo hay riesgo si hay algo que perder/Las llamas son bonitas porque no tienen orden/Y el fuego es bonito porque todo lo rompe.” There’s only risk if there’s something to lose, she says. MOTOMAMI is a step forward for Rosalia. Instead of setting out to be just another pop star "Ser una popstar nunca te dura", she sets out to be a genius at ease within her talent and finally ready to let us in on what's next for her. MOTOMAMI is one of the greatest albums of 2022.

- N

Buy Rosalia's third studio album now: Rough Trade