LP format is a Limited Edition in Black Colour Vinyl **Includes a free digital MP3 download [320 kbps]
The first orders will include a STICKER PACK to customize the cover **Sticker sheet dimensions: 21,5 cm x 14 cm
Great albums are built on great contrasts. And Maria Rodés’ new record moves between two forces that clash, intersect, twist, and dance in an exercise of inspiration that is, from now on, unique in…
LP format is a Limited Edition in Black Colour Vinyl **Includes a free digital MP3 download [320 kbps]
The first orders will include a STICKER PACK to customize the cover **Sticker sheet dimensions: 21,5 cm x 14 cm
Great albums are built on great contrasts. And Maria Rodés’ new record moves between two forces that clash, intersect, twist, and dance in an exercise of inspiration that is, from now on, unique in the national music scene. On one hand, there’s the tension of the theme that underpins this album and was already 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 in an act of creative impunity that overwhelms with 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. Maria harnesses the inertia of both currents to turn this entire flow into an intimate and direct narrative where vulnerability becomes strength. In doing so, she crafts an album that is a landmark, both for the principles on which it is built and the achievements it attains.
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 DELAFÉ, Paco Pecado, LA BIEN QUERIDA, BRONQUIO himself, Albert Cases, Soleá Morente, LAAZA, La Tremendita, IDOIPE, 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 Mí 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.
Everything in this record adds nuance and completes the vision of what’s known as amour fou (mad love). The title, which in its apparent simplicity hides a world of contradictions, wounds, and desires. Emotions that collide and, through their explosion, humanize and reveal the most imperfect and disarming kind of beauty. The album cover, featuring a young Maria hugging a pole—the innocent soul who loves for the first time and still believes in a paradise that, sooner or later, will be lost. The vinyl artwork shows a tiny Cupid symbolizing desire, blind faith in love, and the naivety that persists even when that paradise finally disappears. The digital version evokes a photo from a 90s teen magazine, as if it had been published in the pen pal section, sent in by the artist herself, with a glossy, slightly worn finish reminiscent of the pages that once held impossible crushes and secret confessions from another era.
Because “Lo Que Me Pasa” reclaims intensity over the fleeting. The contradictions that give meaning and truth to feelings over the transience disguised as truth and coherence. The flame that persists, the belief in connection, the stubbornness to feel. And beyond that, it shines a light on all those women historically stigmatized for loving too much: the lover, the obsessed one, the femme fatale. In Rodés’ voice, these women survive unequal emotional education and the abuse of many men to reclaim dignity, desire, and their own name. A voice that brings light, beauty, and turns pain into clarity. That is Maria Rodés.
