Album Review: MOTOMAMI – Rosalia

“MOTOMAMI” is the third studio album by Spanish singer and songwriter Rosalia Vila Tobella, commonly known by her first name. The record was greatly anticipated after the single “La Fama” was revealed to feature pop star Abel Tesfaye, better known as The Weeknd. Rosalia steals the show as she does throughout the entire record with a dynamic musical experience that stretches over multiple genres and soundscapes, never afraid to push the limits of the Latin pop and reggaeton scene.

Despite being adjacent to huge artists in that scene via her works with superstars like Bad Bunny, Travis Scott and J. Balvin, Rosalia brilliantly stands out by not conforming to one sound. Whether it’s the flamenco-style-sound fans were given in her previous record with “BULERIA,” a throwback to the dance contagious bachata genre with “LA FAMA,” or a Billie Eilish-style airy ballad with a stunning vocal performance with “HENTAI,” Rosalia manages to put her own spin on every genre she explores on this record. Her many influences shine bright throughout the album and she pays tribute to many sounds that Spanish-speaking individuals have both grown up on and can hear today.

Rosalia’s versatility shines brightly throughout the album’s 42-minute run time. Many moments on this record will catch listeners off-guard in some fantastic ways, such as the free-jazz- inspired drumming and piano in the opening track “SAOKO,” the sporadic interjections at the end of the beautifully melodic “HENTAI,” and the humorous insertion of a Soulja Boy sample from the Vistoso Bosses track “Delirious” in “DELIRIO DE GRANDEZA,” a twist to the famous song by great Cuban salsa artist Justo Betancourt.

This record has pleasantly surprised many fans and critics, and only leaves listeners wanting more of the unpredictability and talent from Rosalia.