GRASA

by

Nathy Peluso

Grasa by Nathy Peluso has cemented itself as a cornerstone for her burgeoning career as a rapper and singer/songwriter; more importantly, it cements what will be a staple of her craft, equating the significant highs and more, from her last album, Calambre. As much as she sings radiantly, her rapping is on another tier, and it continues to surprise me, specifically with the ferocity she inhabits in her flows. Grasa matures her rap essence with a more seamless throughline; it’s gripping when she maneuvers from a Latin Funk and Electronic influenced Hip-Hop beat in “Mennia” to some R&B-laced vocals, accompanied by these audaciously hard drums on “Idea Radicales;” however, what makes it standout amongst the many Latin-Pop/Urbano albums released this year. It’s original and doesn’t confine itself to trends, feeling more apropos to who Peluso is instead of melting into the Pop pot. That is immediately apparent with the opening track, “Corleone,” this bolero number that displays a picture of Peluso as an artist and person. It’s cemented in and allows her to be herself with walls open before she comes with full force, delivering a fantastic sophomore album full of surprises.

Grasa is like a hit from the moment the first raps get laid down on “APRENDER A AMAR,” it’s a sensational flow that keeps you latched to the ride at all times. It’s as if there was a mindful mutual decision from all parties that the album would start and flow back and forth with one where it’s singing and another where it’s rapping, creating a solid pattern that’s very tug-and-pull in a good way, until the last few—some go out with a bang. It’s an ever-flowing array of fantastic vocal performances, sometimes overcoming the safety nets in the Hip-Hop drums, which is heard on “Legendario,” becoming somewhat of an antithesis to the Alt-Pop production of “Real” and its use of sound effects. It actualizes the song more than just its beat, allowing Peluso to feel and ooze out that emotional bravado, going further to paint the picture. There is so much happening with Grasa that the weak moments can get lost in the shuffle, especially as Peluso stands above the fray with her performances, as opposed to low density with some beats. It’s quick blemishes that correct themselves with outstanding components surrounding it.

Accompanying the album are reworks of music videos for the tracks edited into a short film that establishes duality, where the performative nature of some songs, and its content weaves into this nuanced reflection point that allows to get more creative. As potent as the production is, especially with the pop beats, some theatrics are embedded into the writing, like with “Real,” which has a Bonnie & Clyde influence in its storytelling, elevating the craft further. It’s using Manhattan as a set piece to express that there’s more within the crevices that don’t pop out, like the allure we have with what money can attain on “Manhattan.” She maneuvers through these themes of grandeur, love, self-realization, and emboldening who she is intricately. It’s what makes the manic-ness of “Todo Roto,” where Nathy Peluso and featured artists CA7RIEL & Paco Amoroso are unabashedly themselves. It’s a whirlwind that challenges and humbles itself near the end with some fantastic sonic styles like the uproarious Pop-Salsa hit in “La Presa” as the challenge and the reflections as the humbling and heartwarming essence of her being like she did with “Ideas Redicales.”

Grasa’s only blemish is the production and flows on “Legendario,” which straddles a safe line with the direction it could take, falling more into some cadences of Trap, but never going the distance. It can also be jarring to some when Nathy Peluso steps back for two ballads woven in between rap tracks, buoying that balance I spoke about. It may not work for some as they are opposites that clash, specifically if you’re vibing with some hard bars, but it adds depth to her character, showing us through the cracks through the confident flows and writing. Through these cracks, we get the highs like “Escalera De Metal” and “Envida,” where the minimalist nature of the production showcases a different side of her voice and lets us indulge more. There are so many positives to take from it; it’s just one cohesive ride that goes through the motions more creatively than I expected. It was more fun than it was daunting, and the impact of reading and digesting the lyrics further made it more rewarding. Sometimes, that’s all you might want, and if so, well, you can’t say I’ve steered you wrong.

Grasa is one of the best times I had when listening to an album since Prism of Pleasure by Elkka, especially since it delivers on so many fronts. It has the consistency to keep the attention of many of you as it progresses at momentous highs.  Since I hit play, I couldn’t hit pause; my hope is the same for you. I’m a big proponent of Latin music, and it was the peak for 2024. It packs a powerful punch, and the depth of her vocal range adds much to the hook of why it’s so great. Give it a spin; I hope you feel that same bravado from Peluso that I did.