It is no coincidence that Mon Lafferty, a duo with Nathy Peluso, pays tribute on his new album to La Lope (1939-1992), a Cuban who immigrated to New York, the epitome of desicho and desgarro. It happens in “La Tirana,” which begins with a fateful bolero stroke and turns into a sonorous grave. Yes que en Femme fataleBy saving all the distances that can be saved, Lafferty shows himself transformed into a 21st century lob, reigning supreme in the dog lover’s club, in a persona of nights and humor with license to dream and make decisions without interruption. Creativity had another motive: Lafferty played Sally Bowles, the heroine of the novel nightclubWhen the musical premiered in Mexico.
On Automotive industry (2023), which Lafferty defined as a revival album, the artist used few instruments and a lot of technology to create a collection of songs that included hip-hop, tango, electronic cumbia, reggaeton, and bolero. Now, then Femme fataleHe found a little technology and a lot of instruments: enough to form an orchestra that could provide the songs with a jazz base, not as rounded as Billie Holiday’s great one, but refined enough so that the sound shines strong, sensual, flowing, and completely open to avoid terminal classification. Sure, the songs are there Femme fatale who participated in the orchestral and pop arrangements that demonstrated so well the French and Italian singers of the 1960s (“Melancolía”, For example).
The album begins with the piece that gives it its name, a jazz bolero in which Moon’s throat sometimes seems to merge with Björk’s, and from which she realizes that she takes chaos as a promise and that she wants to burn the world, and ends with Normal lifea composition in the key of musical comedy, whose satirical text tells the story of a person struggling between his addiction to stress and a peaceful and carefree life. And in the midst of these things, on either side of the imaginary stage, there are highly incorrect ecstasies such as “Mi hombre”, with a suggestive guitar arrangement, and “Otra noche de llorar”, in which nostalgia is implied. This is love As a guest of Mateo Sujatović from the Conociendo Rusia group. Here, desire, striking the soul with joyful choruses, breaks the seams and perhaps the pants: “Comerte los labios es Religion / Entre tus Piernas voy a rezar”. “The Flowers You Left on My Table,” which combines vocals with hip-hop and Latin rhythms, leaves no room for confusion: “Seguramente me vas a extrañar when it lasts.”
“Until loneliness awakens us” Goodbye and Lafferty share silk gloves with Brazilian Thiago Iwerk. In “Ocupa mi pel” he states that alluvialism is knowledge, and in “My One And Only Love”, a choral song with Natalia Lafourcade and Silvana Estrada, he highlights the vocal harmony and the ambiguity of the text. Lafferty and his music teacher Manu Jalil produced this engaging piece of acoustic art.
Femme fatale
Mon Lafferty
Sony