Lali Espósito, the Argentinian singer, songwriter, and actress, has released her sixth studio album, No Vayas A Atender Cuando El Demonio Llama (Don’t Go Answering When the Devil Calls) [[3]]. This project, already available on all digital platforms, features 15 songs and collaborations with artists like Miranda! on Mejor que vos and Dillom on 33 [[3]].

A Visual and Auditory Journey

The album’s visuals, seen in videos and visualizers, incorporate factory aesthetics and abandoned buildings. This is evident in 33, a collaboration with Dillom, which Lali chose to open a journey through personal and introspective moments, blended with fantasy, all bearing her distinctive mark.

Lali’s Evolution

Having spent 11 years exploring her musical side, Mariana Lali Espósito has navigated the complexities of transitioning from acting to music. Overcoming obstacles with persistence, conviction, and talent, she has solidified her place in the music industry.

Classics Over Hits

Lali states, I am on the crest of the wave and it does not give vertigo, before I was looking for the hit and now I make classics. The album showcases her evolution, capturing her at her most sensual and fun. It reflects her ability to laugh at the pop icon figure she has become.

Collaborations and Reflections

While Dillom is featured on 33, Duki appears on plastic. Beyond these collaborations, Lali engages in a dialog with herself, presenting different images and perspectives in each track.

echoes of Charly garcia

The album subtly incorporates elements reminiscent of Charly Garcia, an iconic figure in Argentinian rock. This influence is evident in the album’s aesthetics and the saynomoreana energy that permeates the tracks. The interlude end of transmission features a voice reminiscent of Marita Monteleone, declaring:

Here ends the pseudo-rock album of Lali … we trust that they will reproduce it until their families hate them. Thank you for supporting their popstar Favorite, and remember …
Marita Monteleone (unconfirmed)

Plastic and self-Awareness

The title of the album is derived from the song plastic, where Lali sings:

Now that dream on the radio look for me. Now that they are full stages. They are plastic. Now that I never fall, they are frustrated. Now that I do not keep me they get scared. They are made of plastic.

This track reflects on fame and the reactions it provokes.

Visuals of ‘Lokura’

The music video for Lokura features abandoned settings,with Lali confidently navigating these spaces.the song tells the story of a bad boy whom onyl she seeks out.

Romantic Interludes

In contrast to the rock-infused tracks, Dying love is a romantic song about the willingness to try love again, with Lali confessing, I was never a fan of clowns or champion paste. I almost didn’t breathe if I think I listen to your voice.

Ballads and Rocker Climates

The mid-tempo track There are no heroes embodies the Argentinian pop ballad style, while Pendeja embraces a rocker vibe, allowing lali to express her most confessional side. She sings, This is what excites me the most. I love when they shout that I am a asshole, if I am a asshole. The one who warns you does not betray, the devil does not go to Mass, if I am a asshole …

Closing Tracks

The album begins to close with another ballad, loser, followed by the interlude Sensational Success, which questions Lali’s persona:

The Infant-Uponos phenomenon become a pop icon … Is the definitive hero that demands the time? Is the greatest criminal of which you have memory? It doesn’t matter anything, is the new album of Lali.

Pop Explosions and Lesbian Winks

The album also features tracks like sexy, a dance-floor-ready song,and Bride II, which offers a playful nod to Babasónicos with the line,She says that you are bored,tonight I do not want witnesses. that? Lali sings, Against the wall, we do not reach the Baby bed, in sexy.