Natalia Lafourcade
Hasta La Raìz

Mustaches, sombreros, banjos, maracas, and trumpets: say Mexico, and most Italians will conjure up this picturesque stereotype; say Latin-pop, and you'll immediately think of dancing pastries, rich colitis, and hearts that "suena." For me, essentially, Mexico + Latin pop meant Julieta Venegas, and now also Natalia Lafourcade, a pair (the two are friends and have played together on many occasions) far removed from these tired clichés. At 31, active since the late '90s, petite, with short hair and very charming, Natalia Lafourcade is making herself known beyond national borders with her new album, "Hasta La Raíz," another wonderful revelation that enriches this (for me) already rich and ultra-satisfying musical 2015.

Vintage folk-pop with a Latin twist, with a perfectly themed cover, presented with grace, personality, and a subtle touch of stylish indolence; "Hasta La Raíz" is a triumph of beautiful melody and classy easy listening, simplicity with an elegant touch. Natalia Lafourcade has talent, maturity, and a delightfully feminine touch; she knows exactly how to capture the listener's heart and senses. She does it right from the start, with the seductive arpeggio of the title track, which flows smoothly, crafting an intriguing and essential melody, halfway between sunny bucolic landscapes and introspection with bittersweet and poetic undertones. And it's just the first lesson in style, with many more to follow, delivered with the same enchanting gentleness, "Antes De Huir", light and subtle, supported by a simple framework of choruses and vocalizations, with a piano echoing remotely country, the melancholic but serene "Para Que Sufrir", indolent rhythm, subtly alluring, utterly charming. In episodes like "No Es Suficiente" and "Te Quiero Ver", there are almost western echoes, more rhythmic, more vibrant melodies, without sacrificing anything in terms of elegance, with perfect choruses and vintage refinements.

And then ballads like "Estoy Lista", the dreamy, "Palomas Blancas", the passionate, "Lo Que Construimos", the reflective, more bitter tones, more essentially folk in "Vamonos Negrito" and "Ya No Te Puedo Querer", the offering is rich, complete, fulfilling. It may not have an overwhelming explosive appeal; it conveys positive sensations from the outset, but the infatuation comes later, calmly, quietly, taking its time, but in the end, "Hasta La Raíz" completely wins over. In its grace, this album is a splendid middle finger to machismo, to the "culture" of whoever shouts the loudest, to vulgarity and the empty appearance of certain musical harlots with more or less intellectual pretensions. Simply, a safe haven for those seeking elegance and humanity, a harbor where it's delightful to dock.