ROSALÍA: el RATE de la discografía

No place like the Rosalía rate for some casual xenophobia!

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I'm still danity_kane_damaged from that experience, I won't be silenced!
Very hot people tho
 
Any/All
Three of my best sexual experiences were with Columbians. They all ghosted afterwards tho lmao.

Aute Cuture is just a great pop single and definitely my favorite of Rosalia's one-offs. I listened to it today cause I'm in the mountains of Cataluña feeding goats and trying to find some.

@Applause your Di mi nombre writeup is one of the best things I've read on this forum, ever.
 
Aute Couture was defijnitely a moment.

Stan twitter went bananas with the nails ffffff




That last one requires some context, so Estepona decided to have the largest slide in Spain and... they made it. But it was a danger to life and it didn't even last 24h. Here you can see the councilwoman opening it to business:

 
6. Saoko (9.43)

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11 x 1: @BrokenHearts
Highest: 10 x 19 (@Applause @Remorque @Laurence @JuanJose
@Mirwais Ahmadzaï @Trinu 3.0 @sesita @Trouble in Paradise @Robert
@Mr Blonde @bestinase @spaceship @JonBcn @Vasilios
@Txetxu @devilpray @soratami @Dijah @Gabeee9292)
Lowest: 3 x 1 (@Maki)

Well! As you can see on that bloated high scores section, not even @Maki's diabolical mark could keep @BrokenHearts's 11 from making it in to our top 10. It did keep it just outside of the top 5, though. Let the dogs out!

Back when Rosalía released "Saoko," critics came to the consensus that it was her most experimental work to date. While I don't think experimentation is something that can really be measured, I agree that "Saoko" is probably her most experimental single to date, particularly as a pre-album release. "CUUUUuuuuuute" feels like a Motomami sister to this wild blend of saturated reguetón and jazz. I have always taken this song to be sort of a mission statement: the lyrics go on and on about her being very particular and transformative, providing a long list of namedropping and analogies to drive her point home - my favorite of which is probably Lluvia de Estrellas, a nineties TV show in Spain people would go on to do impressions of their favorite artists by walking in and out of a smoking automatic door. My little ass used to think that door was magic and really transformed contestants in a couple of seconds, back when I wasn't old enough to understand the magic of editing. Seems like a lovely analogy for Rosalía's artistry indeed. Another thing I love about "Saoko" is the fact that the menacing synth line that is the backbone of the track is actually a distorted piano riff. "Saoko" is Puerto Rican slang for "rhythm" as well as a Wisin & Yandel reference, the internet reminds me.

This song lends itself perfectly to a discussion about what we've deemed as Frankenstein tracks throughout this rate, this contemporary trend in doll pop where songs are comprised of different compositions stitched together, be it at the waist or as different limbs to a bigger torso. We have discussed several of these within Rosalía's catalog at this point, but we can find them popping up in the oeuvre of other artists as well, namely Rihanna, Beyoncé, Björk, Tinashe, Madonna, Billie Eilish... You get the reference. I think what differentiates Rosalía's employment of this technique from her colleagues is the fact that she willingly forces alien elements into her compositions as her entire point, particularly on Motomami, because... that is the texture she is looking for. Virtually all of the other artists I brought up work within the internal rules of where the song is meant to change towards, but Rosalía's approach is painstakingly contrarian and exclusively experimental. Where the other girls ask "what would be a nice transition between these two tracks?", Rosalía seems to go "how ridiculously far away from this track can I veer and can I also plop it right in the middle?". She is conscientiously carrying out an artistic MO, and that MO might as well stand for Motomami.

Opening the song with "Girl, what are you saying?" was such a kii for her. A very intentional retconning of the wheel of accents critiques. In Rosalía's world, someone who comes from a generation raised by the internet as soon as it was collectively weaned away from the maternal bosom... accents, genres, art forms, cultures, languages, instruments, schools of thoughts, are all on a level playing field. Not complimentary or derogatory, just a fact. Rosalía's very existence and ascent to worldwide fame is proof, as well as the way in which we consume art in this day and age as the audience. Like she says in the lyrics, her artistic manifesto is basically doing away with notions of style and cutting away at proverbial fabrics to create a new way of doing.

Gaultier provided the wardrobe for the music video, a cheeky piece where Aaliyah and her dancers make it out of the motorbike engine from "More than a Woman" to ride on them and serve cunt and do wheelies and be a headache for the police. I have always loved the camera work on this. It was also filmed in pre-war Ukraine, just like "Hentai."

 
I didn't really like Saoko the first time I heard it, it sounded like a mess. But it continued to grow on me to the point that I find it a fantastic opener now. The sample is done cleverly and she's confident AF in each part. I'm glad it made it this far.
 
My reasons behind the 11: I think Saoko sums up the entire album in one song, her statement and intention is there. I loved how hated the song was and how people didn't get it (the GP mostly), it's a song that took time for people to embrace. I won't never forget the first Motomami gig I went when Saoko started playing and how loud we were as a crowd. I think it's the best intro to a concert ever, her confidence in what she is bringing in those two hours is in her face and her moves. I will always defend the song against people who don't find a meaning behind it, it's very deep when you take the time to analize it and understand it.
 
I think we could have chopped Despecha (as good as it is!) instead because Saoko definitely deserved top 5. The perfect album opener in how it sets the tone both sonically and thematically. A song about metamorphosis being in a constant state of flux? Her mind.

The wild thing about songs like Saoko and Cuuuuuuuuute is how they're experimental and weird as hell, but still incredibly catchy pop songs, and are bursting at the seams with switch ups and disparate parts but only clock in at ~2 minutes. I've said it before but some of the girls can't even make a 3 minute track interesting.
 

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