The eighth album by the Chilean artist shows us a new way of reading and listening to Mon Laferte.
Last November 10th it arrived Autopoietics, the eighth studio album by Mon Laferte. A material composed of 14 songs that the artist herself has defined as the most reflective project unlike her previous works and in which she experimented with new tools, creating her songs from rhythmic bases and samplers, thus returning to the most alternative essence. from the first years of his career. In this album there is evidence of mon honest, free and brave who has nothing to lose.
The title was inspired by the work of two Chilean biologists, Francisco Varela and Humberto Maturana who coined the term “autopoiesis” in the 1970s to define the self-maintenance process of cells.
When I was making this album, the word ‘autopoiesis’ settled in me and I wanted to bring it to this work in a metaphorical way,” he explained about the title of the album in a statement. “I like to believe in the idea of a constant rebirth and convince myself that, despite the adversities of life, I have the ability to continue reinventing myself, that is the great gift that we all have.”
for this album mon decided to embrace all the music that moves and excites her, “Things happen to me on a physical and emotional level and also makes me think,” he says. Leading her to explore new combinations of rhythms that were not previously found in her musical proposal, among which are trip-hop, mariachi, lowered cumbia, salsa, techno, bolero, a little electronic tango, even leading her to make a shocking reinterpretation of “Caste Diva” a piece of opera Rule of Vicenzo Bellini where precisely the best of that learned genre reigns, and the nods to dembow. “My idea was to mix all the worlds that I love,” says the artist.
During the creative process Laferte created several playlists that would serve as inspiration. Those playlists were so varied that you could find music from John Gabriel and Aphex Twin in the same place.
In the new themes I tried to go deeper and deeper,” he commented. “The premises for me of this album was to make an album with what I have at hand. I used the computer, a lot of samplers and electronics, really things recorded organically, not “There are many. So in this sense that each song had to have that touch that was going to go a little further, I thought it would be super nice and poetic to tell this story of migration, which is very profound,” he says about “I swear I will come back”a lowered cumbia that is part of the material.
And really each theme is its own world within the universe of Autopoieticsbecause in addition to a display of genres, mon fills us with small clues of other obsessions and other loves through the use of samplers such as the appearance of The Black Angels at the closing of “No+Sad” a movie sampler Hiroshima, Mon Amour in “40 and MM” and “Mew Shiny” a minimalist and experimental ballad that makes us think: mon Do you fantasize about the idea of being a Pokémon master?
The album ends up being a landscape full of references to continue knowing the layers and the universes and possible worlds behind a complex artist that many times the machinery of the industry and the times we live in, due to its speed, do not allow us to see.
“Before, I definitely wouldn’t have made an album like that,” he says. mon. “I feel that I am in a moment of greater security in myself, in my music. I have a clarity that perhaps I didn’t have before. I’m also becoming less prejudiced. The devil knows more about being old than being a devil, they say, I suppose there is something to that.”
Go ahead play:
