Lo Que Me Pasa
Maria Rodés' new record moves between two forces that clash, intersect, twist, and dance: On one hand, there's the tension of the theme that underpins this album and was hinted at in the various singles preceding the release of "Lo Que Me Pasa": romantic obsession, that place where love gets confused with faith, and devotion turns into condemnation, inspired by the story of Lidia de Cadaqués, a real woman (daughter of a witch) who suffered from erotomania. On the other hand, there's the stylistic freedom embraced by Rodés - the natural ease with which our former folk singer plays with electronic textures and shreds genres like rumba, flamenco, reggaeton, bachata, synthpop, or bossa nova. To achieve all this, she surrounded herself with an extraordinary lineup of collaborators: the guitar of Isabelle Laudenbach, the cello of Marta Roma, Zabala's programming, synths from Bronquio and Simon Smith, and the vocals. Oh, the vocals! Look out for contributions from Delafe, Paco Pecado, La Bien Querida, Bronquio himself, Albert Cases, Soleá Morente, Laaza, La Tremendita, Idopie, and Nieves Lázaro.
All under the production of Joel Condal. Big names for a massive album. The album opens with "Primera Vez", a celebration of the pure joy of love and the initial innocence that will soon be put to the test. From there, the phases unfold: heartbreak in "Lo Que Me Pasa", disillusionment in "Chico Bueno", ethereal and unreal fixation in "Pienso En Ti", the deep devotion found in "Hechizo", feminine revelation in "El Parque", defenseless surrender in "Andan Sueltas Las Fieras", religious mysticism interwoven with passion in "Te Amé", self-deception and obsession in "Esto A Mà No Se Me Pasa" and "Quiero Controlar", bitterness and irony in "Malo", luminous dreaminess as a form of detachment in "Vamos A Brasil", and the calm, intense, and epic finale of "Monte Perdido", where myth finally takes form.
Lo Que Me Pasa
Maria Rodés' new record moves between two forces that clash, intersect, twist, and dance: On one hand, there's the tension of the theme that underpins this album and was hinted at in the various singles preceding the release of "Lo Que Me Pasa": romantic obsession, that place where love gets confused with faith, and devotion turns into condemnation, inspired by the story of Lidia de Cadaqués, a real woman (daughter of a witch) who suffered from erotomania. On the other hand, there's the stylistic freedom embraced by Rodés - the natural ease with which our former folk singer plays with electronic textures and shreds genres like rumba, flamenco, reggaeton, bachata, synthpop, or bossa nova. To achieve all this, she surrounded herself with an extraordinary lineup of collaborators: the guitar of Isabelle Laudenbach, the cello of Marta Roma, Zabala's programming, synths from Bronquio and Simon Smith, and the vocals. Oh, the vocals! Look out for contributions from Delafe, Paco Pecado, La Bien Querida, Bronquio himself, Albert Cases, Soleá Morente, Laaza, La Tremendita, Idopie, and Nieves Lázaro.
All under the production of Joel Condal. Big names for a massive album. The album opens with "Primera Vez", a celebration of the pure joy of love and the initial innocence that will soon be put to the test. From there, the phases unfold: heartbreak in "Lo Que Me Pasa", disillusionment in "Chico Bueno", ethereal and unreal fixation in "Pienso En Ti", the deep devotion found in "Hechizo", feminine revelation in "El Parque", defenseless surrender in "Andan Sueltas Las Fieras", religious mysticism interwoven with passion in "Te Amé", self-deception and obsession in "Esto A Mà No Se Me Pasa" and "Quiero Controlar", bitterness and irony in "Malo", luminous dreaminess as a form of detachment in "Vamos A Brasil", and the calm, intense, and epic finale of "Monte Perdido", where myth finally takes form.
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Maria Rodés' new record moves between two forces that clash, intersect, twist, and dance: On one hand, there's the tension of the theme that underpins this album and was hinted at in the various singles preceding the release of "Lo Que Me Pasa": romantic obsession, that place where love gets confused with faith, and devotion turns into condemnation, inspired by the story of Lidia de Cadaqués, a real woman (daughter of a witch) who suffered from erotomania. On the other hand, there's the stylistic freedom embraced by Rodés - the natural ease with which our former folk singer plays with electronic textures and shreds genres like rumba, flamenco, reggaeton, bachata, synthpop, or bossa nova. To achieve all this, she surrounded herself with an extraordinary lineup of collaborators: the guitar of Isabelle Laudenbach, the cello of Marta Roma, Zabala's programming, synths from Bronquio and Simon Smith, and the vocals. Oh, the vocals! Look out for contributions from Delafe, Paco Pecado, La Bien Querida, Bronquio himself, Albert Cases, Soleá Morente, Laaza, La Tremendita, Idopie, and Nieves Lázaro.
All under the production of Joel Condal. Big names for a massive album. The album opens with "Primera Vez", a celebration of the pure joy of love and the initial innocence that will soon be put to the test. From there, the phases unfold: heartbreak in "Lo Que Me Pasa", disillusionment in "Chico Bueno", ethereal and unreal fixation in "Pienso En Ti", the deep devotion found in "Hechizo", feminine revelation in "El Parque", defenseless surrender in "Andan Sueltas Las Fieras", religious mysticism interwoven with passion in "Te Amé", self-deception and obsession in "Esto A Mà No Se Me Pasa" and "Quiero Controlar", bitterness and irony in "Malo", luminous dreaminess as a form of detachment in "Vamos A Brasil", and the calm, intense, and epic finale of "Monte Perdido", where myth finally takes form.
