Motomami+＜完全生産限定盤/Clear Vinyl＞

スペイン発 世界的ポップ・アイコン=ロザリアの2022年の大ヒットアルバム『MOTOMAMI』に新たに8曲を追加した『MOTOMAMI +』を2枚組クリア・ヴァイナルで発売!

2022年にリリースしたアルバム『MOTOMAMI』でグラミー賞1冠&ラテン・グラミー賞4賞を受賞し、エンタメ総合レビューサイト＜メタクリティック＞で＜2022年最高アルバム1位＞を記録、更に2023年4月に開催された＜コーチェラ・フェスティバル＞でのパフォーマンスが話題騒然となったスペイン出身の世界的新鋭ポップ・アイコン=ロザリア。アルバムの発売2周年を記念し、オリジナル盤に新たに8曲を追加した『MOTOMAMI +』を2枚組クリア・ヴァイナルで発売。
今作は、デジタル配信のアートワークを反映したレッド・ジャケット(マット仕様)となり、最新のブックレット&ポスターが封入される。

A positive quality of life during the 21st century has been the rapid dissolution of longstanding cultural divisions. With increasing frequency, the notion of duality itself is giving way to more fluid reflections of identity in human interaction and artistic expression. No album highlights this quite like Rosalias Motomami. Even its binominal title celebrates this duality: "Moto" refers to the primal side of femininity, while "mami" reflects a gentler, earthier maternal aspect. This record, using many producers, offers the expression, appearance, and explosion of binaries in contrasting energies. Motomami is at once jarring, jagged, dissonant, experimental, yet sweet, tender, nurturing, and celebratory; it embodies these contradictions without trying to create a harmonious whole. The aesthetic (not stylistic) peers of this release include the Beastie Boys Ill Communication, Cafe Tacubas Reves/Yo Soy, Mobys Play, Bjorks Volta, and Mexican Institute of Sounds Politico. Rosalia ranges across genres -- stripping, appending, and juxtaposing them in conflicting ways, from reggaeton, flamenco, cumbia, trap, and hip-hop to electro, indie, jazz, and more. "Saoko" is a sound clash of reggaeton and electro with a rapped lyric about radical transformation. The bridge offers an avant-jazz piano breakdown before colliding rhythms return to surround her. "Candy" begins a cappella with Rosalia using the discipline of flamenco to roll the syllables around in her mouth before letting them drip out amid crisscrossing reggaeton beats and a driving sample from Burials "Arcangel." "La Fama," a duet with the Weeknd, offers his lithe, emotionally pleading voice in an electro-cumbia structure; it is sensually humid and loopy. On "Bulerias," Rosalia returns to hardcore flamenco, but updates it. Traditionally syncopated handclaps are displaced temporarily by layered beats and atmospheric synths, as a male chorus registers chanted assent. Organic handclaps replace synthetic beats to claim the center as the singers subtly manipulated voices join together in power. On "Hentai," a raunchy romantic ballad offers Rosalias warm, studied vibrato transformed via electronica into an alien one with robotic inflection. Its final 40 seconds erupt in zippered beats that add weight to its erotic expression. "Diablo" commences with a flamenco melody and delicate piano before industrial-strength reggaeton beats explode upfront as she sings about God and material corruption. Rosalia channels opera in "Delirio de Grandeza" atop jazzy son and bolero in an homage to Caribbean salsa. The production juxtaposes fragments from Cuban crooner Justo Betancourts 1968 romantic single of the same title to a sampled verse from "Delirious" by Soulja Boy. Rosalias emotionally authoritative vocal on the dolorous electric piano closing track, "Sakura," sounds like it was recorded live in an arena. Her control -- especially of her falsetto -- is canny as she compares her time as a pop star to the brief life of a cherry blossom. Motomami is as provocative and risky as it is creative. It showcases Rosalia as a master, twisting together the contradictory strands of Latin and Anglo pop with traditional and vanguard forms and fresh sounds into a gloriously articulated radical approach that makes for obsessive listening. ~ Thom Jurek