Only those who go down to the Valencian Community by car are able to appreciate the change that occurs in the environment when its border is crossed. The aroma of orange trees, the Mediterranean breeze and those long yellowish asphalt roads dominated by commercial trucks infect the air with a special, unique smell. The well-known terreta brims with identity in abundance and Sandra Monfort, pedreguera by birth, knows it. That is why she promised to bring together each of the symbols that have seen her grow in a vindicative album of multi-thematic discourse where tradition and avant-garde joined hands to dance together to the rhythm of boleros, pasodobles and ballads of the most current contemporary times. Getting “La Mona” As a result, it is clear that he has succeeded.
Behind the ten songs that make up the tracklist hides a wide cultural wealth of folk aestheticism, drawing very clear symphonic landscapes that refer to the traditional Valencian imagination. Monfort goes one step further, dissatisfied with staying there, and has her own musical manifesto, giving voice back to those self-possessed women who found themselves relegated to the figure of the man, a man of whom, by the way, they are already fed up. Tired of being in the background, they charge with all possible strength to give birth to a feminist movement that the album collects between paper staves and Ableton files. “Pasodoble Maria” It embodies the opening of the project as the anthem of greatness that its land deserves; a composition full of surprises among which we find vowels subordinated to the digital effect of autotune or a majestic final procession reinforcing the patriotic feeling accompanied by heraldic trumpets and double cornets. Between reminiscences of “The Madrilenian” (21) by C. Tangana, Monfort begins to surround himself with nostalgic melodies that he uses to write poems sung by a magical voice from which heavenly high notes emerge. “Mortal Firing”, “Asusena” y “Nostalgic Bitch” They consolidate the diversity of genres that characterizes the album. Especially “as a basis”, intimately moving bolero that confronts “Nostalgic Bitch” and its risky sound deploying forceful bass from the hand of bass drums that mark the constant rhythm of electronic music.
Next, the oral echoes welcome the emotional tear present in “Crystal Butterflies” o “Moonlight”two tremendously sensorial, melancholic and raw pieces. “Flowers”for its part, is reminiscent of the Latin melodies that Kali Uchis presented in “Without fear (of love and other demons)” (20), raising the most romantic and sincere Sandra. Maybe the song that breaks the most with the main aesthetic is “Eugènia”, but, not for nothing bad, it is that this Eugènia has a lot of character; She goes to hers. However, with “Nana for Enzo” The author amazes the listener accompanied by a band of violins and pianos worthy of the soundtrack of a Hollywood blockbuster. In short, it is an evocative ballad that invites us to let ourselves be carried away by daydreaming before succumbing to the cant valencià that it offers. “brunette”. And there is no better way to close an album that pays tribute to your culture and its people with the virtuosity of a choir that sings to the air: “Brunette of my heart, now you fly it. Look how beautiful she is, sweeter than a flower.” The voices held next to the “ole” At the end they put the finishing touch.