Welcome to the New York Times podcast, you're, it's not worth your knuckles of music, news

and criticism.

I'm your host, John Caramonico.

You're listening to Saooko by Rosalia, Rosalia just put out her third album, it's called

Motomami.

It's the first album since El Malcareer, which is in 2018, which is her big breakout album.

If you follow pop cast, I'm sure you know Rosalia was someone who studied traditional flamenco

when she was younger, put out a flamenco record that very much was in a classic style with

light flourishes of innovation.

And then on her second album, did a much more adventurous take on the genre.

And somehow became a global phenomenon, we will get into that.

Motomami is her third album coming out on the heels of several singles over the last

couple of years that have radically expanded and remade her sound and also kind of put

her at the center of some controversies about appropriation and what kind of music certain

people are allowed to make or are encouraged to make or perhaps should be discouraged

for making.

Motomami is an extremely dynamic pop record.

It's very complicated.

A lot of unusual juxtapositions, the contributor list is long and frankly, it's like weird

in a good way.

I'm going to go out and say that there's Frank Dukes, No Goldstein, Q-Tip is background

vocals on some songs, Ferrell, Chad, Larry Gold, a favorite of mine, Caroline Shaw is all

...