Saoko is an ode to rhythm and sexual energy. However, it’s more than that due to the lyrical explorations of concepts like autonomy in stylistic transformation, and the importance of having a multifaceted personality. This track has an extremely interesting approach to production; using a lot of ideas, cut vocals, and contrasting sections. Additionally, the bass line has quite a bit of vigour and fits nicely with the reggaeton beat. Sometimes, however, the production —although intentional— can be a bit disappointing; for example, the premature slicing of every “yo me transformo” line. Additionally, the track lacks a bit of cohesion overall as well.

Low 8.

Candy is quite an anecdotally specific and melancholic moment of reminiscing, while —at its core— doubling as a relatable post-breakup track for any listener. This translates beautifully into the instrumental, one which delivers an applaudable and evocative sad-reggaeton flavour. Most noteworthy within this song is the fantastically sentimental and greatly performed chorus.

High 8.

La fama paints a metaphoric picture of fame, from speaking about the tunnel vision that it can cause, to likening it to a lover who’s “demasia’o traicionera” — treacherous and unreliable. In addition, yeah… The Weeknd singing in Spanish over a bachata instrumental? This is as much a sight to behold as it sounds. However, it comes across as a bit of a swing-and-a-miss attempt at trying to bring together one too many Latin ideas into this record — it doesn’t feel all that heartfelt and it doesn’t fit all that well.

Mid 7.

Bulerías further drives the previously explored theme of transformation forward. This time with an emphasis on the willingness of Rosalía to keep evolving despite criticism, and her ability to do so with style while staying genuine. Using a flamenco composition to make the point that she is still true to who she is, feels quite gimmicky, however. Moreover, it’s carried out in a weirdly stripped-down manner; one that doesn’t leave much meat on the bone to bite into, in my opinion.

Low 5.

Chicken Teriyaki takes a materialistic and more money-worship turn for the lyrics — a staple disposition in the genre. However, here it comes off as overly boastful and obnoxious. Also, the humour is honestly lost on me. I am, however, split in half; specifically, because this instrumental is catchy, focused, and quite a successful attempt at a danceable highlight within the record. The hook is quite a simple albeit sturdy melody as well — adding quite a bit of style to the song.

Mid 7.

Hentai fully hits the comedic mark and does so with flying colours. Her overtly sexual and in-your-face approach to comedy is a highly appreciable one for sure. Impressively, this track is also an absolutely beautiful ballad that contrasts hilariously with the lyrics — something that’s most definitely purposeful as well as commendable. It is, however, a slightly humdrum composition once you strip away this surface-level comedy — although it remains quite an enjoyable moment within the album.

Mid 7.

Bizcochito charismatically promotes freedom in sexual positivity — answering to the possessivity, while promoting the appeal. However, the second verse goes slightly amiss; as it doesn’t fit the previous themes, and is a bit vapid. Additionally, the melodies and hooks on this track are not all that memorable or interesting, although they’re slightly held together by the reggaeton beat.

Low 6.

G3 N15 is, in essence, a saddening apology that melancholically meddles in the subject of what Rosalía has left behind, and her feelings of displacement — especially regarding her family. Additionally, it critiques Los Angeles’ juxtaposition between drug abuse and celebrity culture. Moreover, the outro is a reminder of the importance of family — a hard-hitting realisation when away from home. Instrumentally, this ballad made up of organ and vocal performances make for quite a sweet cut. Especially for the very emotive delivery complementing and already evocative composition. Additionally, the outro is not all that fitting, however.

Low 8.

Motomami could’ve been another alluring and personality-packed piece, this time tackling self-empowerment. However, it does come across as a somewhat self-indulgent and insensitive lapse in judgement, and a bit of a mockery. It especially disappoints, because these references to “tsunami”, “sashimi”, etc… add nothing to the track. Instrumentally, however, this interlude is great and highly appealing in its delivery — once again splitting me in half due to inconsistency.

Low 7.

Diablo: Here, Rosalía explores how this previously mentioned transformation comes with a cost — leaving behind things. An idea previously —and differently— explored in “G3 N15”. This time, the emphasis is on taking these risks head-on, despite a stinging criticism that is always against change. This track is fantastic on the instrumental side as well. For example, the reggaeton beat is one of the most fitting and energetic off of the record. Moreover, the complete left turn taken at the halfway point is as explorative as it is immersive.

Mid 8.

Delirio de grandeza dives into the emotions that unrealistic expectations can leave you with. There are slight allusions to this within topics of money and fame, but it mostly has the cadence of being about a romantic relationship — most likely an extension of the metaphor established in “La fama”. This cover of a Justo Betancourt song truly takes new meaning within the record. What’s more, Rosalía somehow manages to fantastically implement a Soulja Boy sample — it sounds like it could be a completely unsavoury combination at first, but it actually ends up being an absolutely mind-bending experiment that delivers beautifully, and I can’t bring myself to fully explain how.

High 8.

CUUUUuuuuuute feels very nonspecific; with perspectives ranging from, ‘they feel oh so special to ‘I’ll always be there for you’ frames of mind, all the way to worship of God. It, unfortunately, left me walking away with nothing concrete or focused to tell of. Instrumentally, it comes across as incoherent as the lyrics do; the performances and overall production are quite likeable but don’t fit together very well, from my perspective.

High 6.

Como un G continues the previous grief in having to make amends with things that are now of the past — while condemning the fact that they had to end. Also, there is an underlying loving relationship to which these feelings apply — one which Rosalía refuses to give up on. Instrumentally, this is quite an endearing ballad, using lo-fi pianos and intimate vocal performances; both of which come together quite alluringly.  Especially for the highly memorable delivery of the “mándame ángeles”/”guárdame otra vez” lines.

Low 8.

Abcdefg is a short and fun showcase of Rosalía’s charisma, ingenuity and spontaneity. It also helps the digestion of the record by sprinkling comedy after a more emotively charged track. It might not be all that eventful, but it is memorable and enjoyable.

Low 7.

La combi Versace makes more boastful allusions to money, with one or two lines that also come off as needless. There are also references to classic composers in the salsa genre — fitting the ethos of the record, revolving around bringing the past to the contemporary (with emphasis on Latin influences). Finally, there are more lines about sexuality, with attention to autonomy. Audibly, the production on this track is quite commendable, managing to make a song that is simultaneously dancy and somewhat introspective; all during a braggadocious track. It’s quite an enjoyable combination for the palette, lyrically and musically. All in all, it’s quite a strong —albeit slightly unfocused— cut, with a noteworthy Tokischa feature.

High 7.

Sakura likens the fleeting nature of cherry blossoms to the unreliability of fame. Additionally, it critiques the vapid nature of people who are against female liberation and sex-positivity; simultaneously, exercising self-assurance — especially in the face of her brave stylistic change. This cut is quite an aesthetically pleasuring track which balances a calm keyboard accompaniment with passionate vocals. It might be too laid back for my taste, however, and the keyboard would’ve been much better had it been a piano similar to the one on “Como un G”.

Mid-High 7.