Vine solita is a confession of Natalia Lafourcade’s battle within herself. Additionally, she expresses her confusion as to why this turmoil would happen in the first place; ultimately, acknowledging the pain of having conflict with the only person who’s sure to always be there: ourselves. Instrumentally, the introduction opens the track (and the album) with a low fidelity, romanticism-like string arrangement that in turn opens into a principally vocal ballad, nicely adorned with piano and acoustic guitar.

High 7.

De todas las flores is a beautifully poetic depiction of post-breakup heartache, accompanied by all the memories that have since become bittersweet. The songwriting evocatively depicts how these anecdotes can turn aching but simultaneously remain melancholically charming. This emotion is carried over to the jazzy and intimately mixed sonics. Every instrument, with emphasis on the percussion, has a closeness and warmth that wonderfully embellishes Natalia Lafourcade’s silky vocals.

Low 9.

Pasan los días is a troubled and hurt song of breakup-induced bewilderment.  Natalia Lafourcade is left unable to move on and implores their previous partner not to forget the good times they had together. The sonics here are an interesting endeavour. There is a very gradual buildup of the instruments surrounding the vocals, starting purely with a melodic guitar, and eventually introducing piano, percussion, upright bass, etc. Although the beginning is —personally— not all that moving, the cut eventually turns into an admirably ephemeral and dreamy soundscape.

Mid 8.

Llévame viento: here, there is a powerfully written wish to escape from pain through connection with nature, asking the wind to aid in this getaway adventure; namely doing so by dancing along with the speaker. The introductory device of using low-fidelity recordings of orchestral performances is brought back here, this time with a piano piece. This, in turn, becomes an admirably atmospheric and intricately textured jazz piece with heavenly and experimental qualities; from the warm percussion to the smooth woodwind section.

Mid-High 8.

El lugar correcto is massively candid, heartfelt, and vulnerable admiration for the current moment, as well as a statement on the importance of self-observation and self-care. Audibly, this cut is an amalgamation of jazz and bolero that is charmingly calming. Natalia Lafourcade’s vocals are, once again, a soft focal point that is intimately complemented by the heartwarming arrangements — though, admittedly, these are not as entrancing as others in the tracklist.

Mid-High 7.

Pajarito colibrí is a heartwarming urging to seize happiness. The metaphor of a hummingbird taking flight in spite of inner turmoil being used as a way to represent resilience paints a very sweet image. Sonically, the track is quite hypnotic. This is mainly because of the meditative melodies that so immersively accentuate the touching message of internalised appreciation and compassion.

Low 9.

María la Curandera once again impresses through its glimmering songwriting, emotively touching on the topic of healing — done so through a fiery passion for life and appreciation of nature. Although melodically, the cut is completely entrancing, the upright bass arrangement and recording are heavy and imposing. This gives the instrumental an almost commanding tone, with intricate and soothing harmony to contrastingly albeit fittingly accompany it.

High 8.

Caminar bonito is a beautiful love song of peace and togetherness in a relationship. That being said, given the context of the album, it likely was written by Natalia Lafourcade for herself. This time around, the composition is a carefree though still precisely arranged and orchestrated piece with a floaty ambience. With the string arrangements adding another layer of charm to the bolero-jazz foundation.

Mid 8.

Mi manera de querer is an endearing go at painting love as a small albeit meaningful feeling. Rather than proving it through grand (or deceitful) gestures, this song is a statement of simple, forthright, and communally shared acts of affection. The samba-jazz direction of this track is simultaneously touching, danceable, and endearing. Moreover, this is another track that is given a highly applaudable warmth by virtue of the silky yet plump percussion mixing.

Low 9.

Muerte is a metaphorically appreciative song about the importance of hardship (mainly, death — *muerte*) and the role it played in Natalia Lafourcade’s gratitude for the current moment and self-knowledge. Moreover, this is a lyrical precedent to the closing track, “Que te vaya bonito Nicolás”. Instrumentally, the feel of this cut is somewhat darker and more sullen. There is a foreboding though serene mood throughout that is slowly torn down into a euphoric amalgamation of electrifying brass dissonances.

Low-Mid 9.

Canta la arena takes topics explored earlier in the record (romance and nature) and combines them in quite an intriguing way. This time around, the appreciation is directed towards the sea and the beach, using them to metaphorically express endearing images like dancing with the waves and kissing the ocean. These carefree images are paralleled by upbeat performances and the addition of a playful cuica accompaniment. This is, however, changed for a long and introspective outro for the last leg of the track. Overall, although this more fun approach is an appreciable change of pace, it does trade the (personally) more evocative intimacy of before.

High 7.

Que te vaya bonito Nicolás is a simultaneously heartbreaking and inspiring song dedicated to the death of Natalia Lafourcade’s nephew. This death is reframed into a light of acceptance, understanding, and healing; one that accentuates the gratitude for our time on earth. The audible side of things is strip-down, calming, and minimalistic. There are surges of strings, piano, and wind-like percussion, but the vocals and guitar accompaniment mostly stand for themselves here — and do so emotively, to say the least.

Low 8.