Rosalía’s album “MATOMAMI” reaches top of Latin Billboard charts

If you have not listened to Rosalía’s new album, what have you been doing all week? I have been on pins and needles for the past three years waiting for this album.

I have to say, the album isn’t as good as “El Mal Querer,” her past work which is a literal masterpiece of an album and deserves a whole other article. That being said, I don’t think anyone was expecting “MATOMAMI” to top her previous album, and while it did not, it also didn’t disappoint.

For those unfamiliar with Rosalía, she is a Spanish singer and songwriter. Her musical roots come from Spanish folk music, also known as Flamenco music. She attended prestigious music schools in Spain starting at a young age and started singing in Flamenco bands at the age of 20.

In 2016 she was signed to Universal Studios, relocated to California, and released her debut album, “Los Angeles.” This first album is simple and her voice really shines. It’s a definition of her authentic Spanish self, and it’s done beautifully.

Her sophomore album, like I said, is a masterpiece. The whole album is based on the Occitan novel “Flamenca,” and each song is titled a chapter of the book. Apparently this was a low budget album and Rosalía almost went bankrupt while making it. However, it is one of the best produced albums I have ever heard.

She moved away from traditional Spanish folk music into an experimental realm with Spanish influences. The album went on to win six Grammys and it became the most awarded album by a female artist. She is the only female artist to win Album of the Year after Shakira.

If you have not listened to this album, you really should.

Now, within her third album, “MATOMAMI,” Rosalía pushes more boundaries than ever. Throughout her musical journey, her voice has remained the constant element. She raps and introduces some hip-hop elements on occasion, but other than that, her voice remains the star of her music through her vocal range and flamenco style.

Rosalía likes to experiment with her music. An important thing to consider when it comes to Rosalía’s fame is the worldwide fame she has acquired, despite being a white Spanish woman that works with traditionally Afro-Latinx genres.

However, unlike other musicians, Rosalía has put in effort to give credit where it is due and makes an effort to work with Afro-Latinx musicians and producers. In my opinion, she is building a bridge between Spanish and Latin music in a modern frame that hasn’t been done before.

Each song in “MATOMAMI” can be seen as being in a different genre. The first song, “SAOKO,” is an alternative reggaeton and experimental track with industrial and avant-jazz elements, while the third track, “La Fama,” featuring Canadian singer-songwriter The Weeknd, is a mid-tempo bachata song influenced by electropop. She also puts in a piano ballad and a song that could be on an authentic Spanish folk album. While it may seem like the album is all over the place, Rosalía makes it work by connecting themes from one song to another.

It didn’t take very long for “MATOMAMI” to reach the top of the Latin Billboard charts and receive endless praise from all music critics. Metacritic gave the album 94/100, and Pitchfork gave it an 8.4/10. Rolling Stone author Julyssa Lopez gave the album four out of five stars and sums up the album very well, writing, “What she offers is a dizzying, kaleidoscopic self-portrait—brash and bawdy at some turns, crushingly vulnerable at other points and completely ridiculous when it wants to be.”

I would rate the album an 8.6/10. While she didn’t top her sophomore album, “MATOMAMI” is a masterpiece in its own right and deserves all the praise.