Rosalía invents a dance for the planet in 'Chicken Teriyaki'

Change of

change of sound, change of dance and, in short, constant change.

Rosalía is determined to assault the highest part of world pop betting on a big change.

This Thursday she premiered

, the third advance from her new album

which will be released on March 18, and she shows that she goes for it all: she has found a new sound and has invented a dance.

More information

'Hentai' and the thousand doubts about Rosalía's new image

After

, a modernized bachata with The Weeknd that left it quite out of tune in its final finish, and

, a very powerful distorted reggaeton that comes to include a jazzy piano in the middle of a very controlled chaos, now premieres a song that gives it more verve to his crusade to become an important reference of the new pop, which is shaped by the sound mixtures of these times, those in which genres do not exist because everyone is available for fusion and song.

As it already happened in

―and, deep down, as she dazzled everyone for the first time with

, back in 2019―, she goes where she wants.

With instinct, but also with a lot of talent.

Neither she nor she seeks to recreate an already consolidated style, giving it her personality, like so many, nor does she consider a somewhat crazy and very groundbreaking experimentation, hindering the scope of her work.

Rosalía takes her own path and, with admirable courage, crosses styles, weaves sound alliances, adds her own sauce and ends up shaping something different.

The song has what she has to have, but it also has something else.

Not only is her character as a woman pushed forward and with Latin power, but she also has artistic achievements in productions that mark a new step.

Chicken Teriyaki

is another new step.

It is the conjunction of the Jamaican

with the pop of industrial baggage.

The result?

A trendy reggaeton, pure club, strange and addictive with that silly and catchy chorus: “Pati Naki Chicken Teriyaki / Your cat wants Maki, my Kawasaki cat”.

A result, therefore, that is something different.

Because

, like

, is.

spirit

, with that faster rhythm than classic reggaeton, and also more repetitive, as happens with the lyrics.

And, in the middle of the easy rhythm, bursts of electronica, distorted and equalized, don't stop coming out, as if dressing the carnal dance with disco flashes, nocturnal and treacherous.

And he does it all in a code of lyrical humor, crazy and without any narrative, in which he quotes Naomi Campbell and Julio Iglesias to talk about waste and money.

Perhaps we should not take what this Rosalía says very seriously because, deep down, she only wants to create images subject to an imagination that moves with the rhythm.

The composer from Sant Cugat del Vallés seems to come out with very well learned lessons from Puerto Rico, land of reggaeton fusions where her current partner, Rauw Alejandro, and Bad Bunny, with whom she has collaborated, are from.

What Rosalía did before with flamenco and the urban in

now it seems because of these advances that she is going to do it with Latin rhythms and the urban in

Album cover 'Motomami' by Rosalía.SONY MUSIC (SONY MUSIC)

Different dance rhythm, but also a new dance.

In the video clip, Rosalía comes out with a new

red hair

Again.

She and she look for it with the confrontation of ideas, of concepts, with the symbiosis of distant places.

, which seems destined for the club, unfolds with its pounding rhythm and mischievous slang in a daytime, almost adolescent video that takes place in a dance hall, with girls doing choreography.

That's another key point: the video is destined to be the choreography of the year.

It's hard to stop looking at that dance with your own contributions.

Accelerated hands, cry mode, rapid lateral movements, hands like cat ears and body contortion.

It seems that many teenagers are going to dance this choreography everywhere, from Tik Tok to the park.

Those who have already renounced Rosalía after

, here they will have more reasons to continue in their place.

Not to mention those who have never swallowed it.

That place where she is too modern, too much herself and not much of what she already was or they wanted her to be.

That also in which her codes are already far away.

The great learning of this Rosalía is that her codes do not go through the most conventional public.

There is a world that is younger, faster, more global, more transatlantic, more unprejudiced, more outside the other world already known by the old pop-rock, by all the previous precepts.

Rosalía is heading to that world and it is very large and changing.

She knows it.

She is part of it.

Perhaps it can be attributed to him that, sometimes, something of the organic is lost in the speed of that world.

The mixes, the

, the sound recreation by computer and the aesthetics do not always reach the mystery of the organic and human, but that dilemma is not always like that.

A good song is a good song always.

Rosalía is not only making good songs for the world she is addressing, but, as with

, she is bringing novelty, style, a powerful house brand.

So powerful that she is very serious about changing herself to establish herself as a world star.

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