mommy, Rosalía’s new album, has sparked all kinds of publications. From the praise of the specialized media, to detailed analysis of her sixteen songs or destructive comments on social networks. But no one had dissected the album like the popularizer and music producer Jaime Altozano has done. In a video that is approaching a million views, Altozano reveals concepts only distinguishable by the most trained ears in music and production. In addition, he has the advantage of having the singer herself by his side to point out her comments.
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Jaime Altozano already broke down the previous album in a 2018 video, The bad want, to which the singer responded by doing a meta-analysis: commenting on Altozano’s video on her Instagram. This time, without screens in between, they do it together.
“What Rosalía has achieved is very special. She has her own style that you distinguish regardless of what musical genre you listen to her do. He is like a writer you recognize even if he writes a crime novel, a newspaper article or a thermomix manual. With the same tools he faces a ballad, a reggaeton and some bulerías. This disc is a master class from songwriting and musical production”, he says at the end of the video, where he gives his opinion on mommy.
The musician criticizes that it is said that the album and some of its catchiest songs, such as SaokoThey are commercial. “The reggaeton beat plays for 40 seconds, it’s in Phrygian mode, it has jazz percussion and it doesn’t have a chorus. I would not say that it is commercial or the height of commerce”, he says about Saoko, the first single from the album. “People use commercial to refer to an artist who commits his art for money. But I see that on this album there is nothing done by compromise. There is nothing forced, ”she defends.
In fact, Rosalía says in the video that it is her most personal production. “In many aspects, this is her first album,” Altozano clarifies, since it mixes both the experience and the musical influences of the Catalan: Daddy Yankee, Justo Betancourt, Kanye West, Lil Kim or La Paquera de Jerez. “She sees how to reconcile all this and above with a minimalist production. With two strokes she draws the song for you: and it works”.
The six elements of ‘Motomami’
The expert has recognized six elements that make mommy as a whole, although its sixteen songs may seem like singles because of their differences. Are the drums aggressive (percussion), filters, bare voice (without reverb or vocal harmonies), chops (vocal sounds that are played in a pattern or beat), collage and minimalist production.
At least three of these elements are repeated in each of the songs. For example, drums from hentai and Bulerias; the filters, with which he eliminates the high frequencies to the instrumentals, are used in all the songs but especially in Candy; the naked voice is heard well in Delusions of greatness; chops are identified in Fame and in The Versace Combi; the collage is represented with the base, the melody and the enumeration of the beginning of CUUUUUUUUUUTE; and minimalist production, such as that of cupcake or Devilis the mark of the entire album.
“All this unites stylistically a bachata, with a reggaeton, some bulerías, a ballad and a samba”, explains Jaime Altozano. Another part of his video is dedicated to the hate in networks that he has aroused mommy. A hatred, on many occasions, caused by not understanding the intention of the lyrics or the musical production. There are songs with no greater intention than dancing in a disco, like Chicken Teriyakiand others in which Rosalía opens wide, like G3 N15dedicated to his nephew.
But the song that best represents those exalted feelings is Devil: “In my head, the lyrics are giving voice to a part of her fandom that is very possessive, and that while they tell her ‘you have an incredible voice, you’re the milk, you’re like no other’, they want to lock her in a cash register. And when she explores other types of musicality they start to tell her ‘you’ve changed, you’re not like you were before, you’re a devil’, in reference to her previous albums, The bad want and The Angels”, affirms Altozano.
“I like that with his previous album he had found a formula that worked and that he could have continued squeezing. Instead, she has taken a risk and done this plot twist to explore their identity”, supports the producer. Jaime Altozano thus offers a mixture of criticism, analysis of the lyrics, musical study and production master class supported by Motomami and accompanied by the only person who knows all the secrets: Rosalía.