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HIGHXTAR (creative site specialised in arts and fashion news)

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HIGHXTAR (creative site specialised in arts and fashion news)

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Una exploración de la naturaleza a través de un viaje en el tiempo que conecta futuro y presente al mismo tiempo que pone en valor la artesanía y la innovación.

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'The Art Of Explorers': La campaña de adidas Originals y Moncler generada por IA

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La historia está protagonizada por aventureros de aspecto humano que recorren el camino que va desde la montaña hasta la ciudad.

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PAQ: Fashion & Streetwear PO Box: Kyra TV PO Box 74356 LONDON EC1P 1JA @paq.official Enquiries: hello@kyra.com

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WATCH NOW! MAKING IT UP AS WE GO ALONG: EVERYTHING INTERNET

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Youth and pop culture provocateurs since 1991. Fearless fashion, music, art, film, politics and ideas from today's bleeding edge. Declare Independence.

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Rosalía found stardom by doing something very specific: updating flamenco for the digital age. But with her genre-melting, party-starting new album Motomami, the Spanish singer is ready to show just how expansive her music can be

¿Chica, qué dices? The question - "Girl, what you sayin'?" - opens Motomami, the Spanish pop star Rosalía's latest album, released in March. It is a simple question but also a freighted one. After all, no one, least of all Rosalía, could have foreseen that a Spanish-language record that she conceived and produced independently as part of her college thesis project, 2018's El Mal Querer, would catapult her to global success. But Rosalía's one-of-one blending of flamenco with modern sounds enraptured listeners and synced up with what some called the "second Latin explosion," after the late-'90s moment when artists like Ricky Martin, Marc Anthony, and Enrique Iglesias broke into pop with English-language hits. The difference was that Rosalía, along with peers like Bad Bunny, J Balvin, and Luis Fonsi, sang in her native Spanish, refusing to court success on any single market's terms. From there, she released a string of singles - some with flamenco flourishes, some not - with several of the biggest names in reggaeton and urbano music, along with the likes of Travis Scott, The Weeknd, and Billie Eilish. In the process, Rosalía became a Spanish-language sensation and also a pioneer of music built for the global nightclub.

And so, hidden inside that simple question are a few more complicated ones: when you reach the highest tier of pop - when you have everyone on earth ready to move the way you tell them to - what do you do? How do you surpass the work of art that changed your life forever? Do you return to what got you there? Or do you push forward into something entirely new? ¿Rosalía, qué dices?

"The question the project asked was: how do I make a photograph of this moment?" Rosalía says. We are in New York's Electric Lady Studios, where much of Motomami came together, conversing in Spanish; the doors to the terrace are open, letting the sunlight in. She continues, "How do I make a self-portrait? How do I translate my experience - right here, right now - into music?"

She's wearing a long Coperni halterneck dress, with slits at either side, patterned in a patchwork of '90s iconography - the yin-yang symbol, that sun with the wiggly rays, Beavis and Butt-Head - with chunky black platform boots. We sit on a red couch, and when she plays each song she closes her eyes - done up with a glossy-green eye shadow - and vibes out to the music. She marks the beat with her feet, the melodies with a sway of her head. If she wasn't a superstar, I'd think we were teenagers listening to records together.

"I still dedicate most of my time to music," she says. "The fundamentals haven't changed. What has changed is my context." After El Mal Querer, the world opened up for her. She joined the global fashion circuit - sitting front row between Virgil Abloh and Drake one day, performing at one of Rihanna's Savage x Fenty events another. In her music videos and live performances she honed an aesthetic heavy on both high fashion and motorcycles. (That was her, briefly, in Cardi B and Megan Thee Stallion's internet-demolishing "WAP" video.) She made new friendships. "With Rosa you can feel that her body and spirit are in perfect alignment, giving her direct access to creating from her truth," her friend, the Euphoria star Alexa Demie, tells me in an email. "She stands strong in her power and sinks deep within her vulnerability, sharing both with us effortlessly." It was a lot, Rosalía says, explaining, "My life has changed. In three years it's turned around 360 degrees. The way I've found to process all that has been to make music about it."

She has spent the past two years in the United States, primarily in Miami, New York, and Los Angeles, working on her album. It's been the longest period of time she's ever spent away from her family and from Spain. Ultimately, she says, the change in scenery helped. "These two years working here in the United States, it was like trying to rediscover the centre," she says. "Because if you are in the centre - in your centre on a creative level - you really write from honesty, produce from honesty, arrange from honesty."

That meant exploring kinds of music she hadn't necessarily been associated with. "Saoko," the album's first song, was the last one she recorded for Motomami. She was here in this studio improvising, and perhaps because she'd been deep into reggaeton, " Saoko, papi, saoko, came out," she says, referencing the 2004 reggaeton hit from Wisin and Daddy Yankee. The rest of "Saoko" builds out a philosophy. She will not be a static musical presence. ("I am very much me, I transform myself / A butterfly, I transform myself.") She will not let the pressures of success interfere with her creative instincts. ("Frank said to open the world like a nut," she sings, quoting her pal Frank Ocean. "If I die, may I die by the mouth like a fish dies.") If none of this clues you in to the shape-shifting at the heart of the project, the jazz piano breakdown towards the end of the track announces that she will let her musical experiments get as weird as she wants.

"I owe so much to flamenco; it's been my home, and it will always be the foundation to my music," she says. "But to me, there is no one music that's better than another - there isn't one that is good music, and one that is bad."

It was as simple as that: "I thought it was super guay " - Spanish slang for cool - "to open the record with a song that sets the mood and all the references for the project, especially the old-school reggaeton that I love... I spent my whole adolescence listening to reggaeton. I remember dancing with my cousins to songs by Don Omar, Lorna, Ivy Queen, all the classics - so why not pay homage to them?"

There is quite a bit of reggaeton in Motomami's sonic landscape, along with bachata, a little dembow, and even a cover of "Delirio de Grandeza," a 1968 bolero by the Cuban singer Justo Betancourt. It's like Rosalía walked through the garden of her favourite music, picking different flowers and mashing them together to create new hybrids. Which explains how references to an eclectic mix of musicians - the salsa star Willie Colón; the rappers Lil' Kim and M.I.A.; the flamenco artists José Mercé, Niña Pastori, and Manolo Caracol - appear throughout. As we're talking, she starts to call the album a "radiografía," combining the words for radio and biography, then stops herself because she knows that's not what a radiografía is - it's an X-ray - but it's somehow still a fitting portmanteau. The references further ground the project in the autobiographical: this is the music she grew up with.

An artist's first press cycle can calcify a life, particularly if the musician is a young woman with interests that fall outside of societal expectations. Very quickly, the story of Rosalía Vila Tobella coalesced into the myth of Rosalía. She was born in Sant Cugat del Vallès, a town north of Barcelona. When she was seven, she sang for her family and reduced them to tears. At nine she started learning how to play guitar, and fell in love with flamenco at 13. She studied at the Catalonia College of Music in a programme that typically accepts one student a year. She played local tablaos, as the bars and restaurants in Spain where flamenco singers and dancers perform are known, sometimes getting paid only with a free dinner. She released a debut album, Los Ángeles, which was straightforward flamenco, just a guitar and her voice. Success soon followed: the critically acclaimed El Mal Querer, based on a 13th-century novel, and a role in director Pedro Almodóvar's 2019 film, Pain and Glory. All this set her up as a Very Serious Artist with Very Serious Intentions. It wasn't hard to imagine what would come next.

Except Rosalía had other ideas - had always had them, really. She'd grown up listening to everything. Bon Iver, but also Kate Bush. Aphex Twin, but also Janis Joplin. She taught herself songwriting in part using books of Bob Dylan and Patti Smith lyrics her mother had given her. She was a child of the '90s, raised with the internet: the idea of picking any one genre seemed limiting. "Her music [is] not only getting bigger and wider but also connecting deeper and more spiritually with audiences worldwide," her friend, the musician Arca, tells me. The two often connect via "melodic voice notes," encouraging each other in their creative endeavours. "I see her star shining bright," Arca says.

With El Mal Querer, she began to incorporate the sounds of global pop. Then she began working with the biggest artists on earth. Rosalía fitted right in: "Con Altura," her reggaeton-leaning song with J Balvin and El Guincho, has racked up nearly 2 billion views on YouTube. The likeliest outcome - indie-world recognition - was upgraded to full-on global fame.

Motomami continues this process. Changing gears, shifting shapes: this has always been the idea, even if people were slow to catch on. " El Mal Querer was a mood; in fact, a very serious mood," Rosalía says. "A mood is a moment, and moments cannot be repeated. The most honest thing I could do for this project was to really open up."

Opening up, in this case, meant devising a character: the motomami. The body of work she'd accumulated - "There was a very forward point, with a lot of energy, and another one of fragility and vulnerability" - called to mind a specific quality. Then all of a sudden she remembered an old friend's early email address: motomami. The moniker had stuck with her but now raised new ideas. It seemed hard, but soft; feminine, but not rigidly so. It reminded her, too, of her mother. "My mum has always ridden a Harley, dressed in leather," she says. And even though it came to her late in the process, the motomami seemed like an idea that, somehow, predated her album, and maybe her life. It became a sort of affirmation, she tells me: "I'm a motomami because my mum was a motomami, and my mum's mum is a motomami because my mum's mum's mum was a motomami too."

A motomami has a funny side: one song on the album, "Hentai," folds a list of sexual desires inside a reference to erotic manga. This caused something of a freak-out among a subset of her fans. "When I shared 15 seconds of 'Hentai' earlier this year," she says, "many people liked it and I was very happy and thankful, but many people were also putting their hands to their heads, and I kept thinking: but Lil' Kim has been writing explicit lyrics all her life!" She laughs. "But it's possible that people are expecting certain things - because my other two projects were so serious - but this one for me, it's giving space to humour, irony, all sorts of subjects that are part of my life."

The motomami exists for these moments. "When a woman does not do what she is expected to do, people are often ruthless," she says. So she has learned to be ruthless. "In the end, I say: Motomami and move on."

That quality has served her well as she has dealt with the complications of her new life. First, she faced the accusation that she should not make flamenco, traditionally a music of the historically marginalised Roma people of Spain. (This critique seemed to gain more traction after the worldwide success of El Mal Querer rather than the more traditional Los Ángeles.) Then, after El Mal Querer garnered several Latin Grammy nominations, questions arose about her inclusion, despite the fact that it is common for artists from Spain to figure in the awards, which honour music in Spanish, along with Portuguese and other languages spoken in Latin America and the Iberian Peninsula. I ask if she was thinking about these things when she recorded Motomami, filled as it is with musical styles from the Caribbean and Latin America.

"I can only talk to you from my own truth, which doesn't mean it's the correct one," she tells me. "To me, making music is a human manifestation. It's what makes me wake up in the morning with enthusiasm, what keeps me hopeful, my most honest way of communication."

She continues, speaking clearly on a subject she's given much thought to. "One of the reasons I wanted to be a musician was because I would get to travel and learn new things, meet new people," she says. "All those things affect me as a person, and I want those things to affect my sound... I understand and empathise with the people who may feel a different way, but the truth is that, if I stopped [to] think there is a right way or a wrong way to be inspired, I wouldn't be able to make music. There are many things, many people, that have influenced me, that have enabled me to make my music. If I choose musical styles, you can see that reggaetón clásico, dembow, bachata, and bolero are all present. That is all a result of love, admiration, and the utmost respect."

A few weeks after we meet, Motomami - the product of a career's worth of sonic exploration and self-interrogation - draws closer to its release date. The rollout in the US befits Rosalía's levelled-up status: she appears on The Tonight Show with Jimmy Fallon not as the musical act but as a fully-fledged guest, complimenting the host on his " moto-papi" energy. She performs on Saturday Night Live, singing in Spanish to an audience of millions. And then, the night before the official release, she gives a special performance recorded for her TikTok. She truncates most of the album into a 30-minute medley, employing many of the app's trademark special effects and riffing on the idea that it will all be consumed via phone.

The performance, confident and assured and designed for as big an audience as she can imagine, makes one thing very clear. With her first two albums, Rosalía created a world and welcomed listeners into it. But she has made it such that her new work, and all her work in the future - defiant, beautifully chaotic, unmistakably Rosalía - will be released into a pop-music world shaped, subtly but indelibly, by her influence.

¿Chica, qué dices? She says: todo.

Laia Garcia-Furtado is a writer and editor living in New York.

PRODUCTION CREDITS:
Photographs by Jack Bridgland
Styled by Oliver Volquardsen
Hair by Sergio Serpiente with One Off Artists using Sebastian
Makeup by Mariona Botella for Rosalía using MAC Cosmetics
Nails by Anna Sancho
Tailoring by Rosa Pérez Cadenas
Set design by Chloe Rood at Dais Agency
Produced by Susana & Kiku at BCN Skies Productions
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How Rosalía Became the Queen of the Global Nightclub

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Rosalía found stardom by doing something very specific: updating flamenco for the digital age. But with her genre-melting, party-starting new album Motomami, the Spanish singer is ready to show just how expansive her music can be ¿Chica, qué dices? The question - "Girl, what you sayin'?"

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The Skirt Chronicles is a Paris-based publication launched in March 2017. It's a balance of photography and the written word, exploring fashion in culture and literature and beyond.