By H. F. Chacon Jr.
A few weeks ago, “Orquídeas,” a new Spanglish pop album by Columbian-American singer Kali Uchis was released not even a full year after her last album. Throughout the record, the age-old tale of love and heartbreak builds a pilgrimage culminating in an ultimatum on whether or not she should settle with dependence on a lover or live for herself.
Getting to this point, she puts the listener in a mysteriously seductive 44-minute trance with colorful stretches of amorous compositions, punchy synth grooves, Selena-esque nostalgia trips, and Merengue sequences. This vast array of sounds would feel totally incohesive if it wasn’t for Uchis’ absolutely perfect vocals, which outperform all features throughout.
Starting out the album, we are given several perfect tracks of bubble gum synth-pop that casts a remarkable spell on the audience. “¿Cómo Así?” states it clearly: “If you come around here… You’ll never wanna leave.” Switching between Spanish and English seamlessly, Uchis gives access to emotional states of romance in this bittersweet symphony. The cooing lyrics to a lover never slips out of focus throughout the album.
Then, with work done on the layered vocals and cathartic reverbs, “Igual Que Un Ángel” (with Peso Pluma) presents us a masterclass of production. Perhaps this is the song this album will be remembered for. It renders all the necessities for what I cautiously term a modern classic.
Clearly taking inspiration from the love ballads of the 1980s and ’90s in Latin America, the new age meeting old story of love reminds us of flames that just never die out. Perhaps that is why much of this album revolves around the tragedy of failed love in the past. The nylon string guitar and violin arrangements in “Te Mata” call back to old records that Spanish parents put on growing up.
This calling to her heritage allows for the audience to sympathize with the sorrowful vocals, showing us that heartbreak is the rite of passage to solace, as proven time and time again. The last lines of “Te Mata” state (translated), “I’ve finally realized that I deserve much more, and that kills you.”
Another notable change brings an adventurous aspect to the album: traveling between genres of the Latin musical world. “Dame Beso // Muévete,” ending the record, gives us a 2000s upbeat dance track. “No Hay Ley Parte 2” gives us an electrifying Reggaeton sequence. “Perdiste” drowns us in a love-drunk ocean of ambience.
Never is a beat missed or dropped incorrectly, and never is the audience left to question what they’re listening to. The ability to pass across the borders of Americana and Spanish cultures mid-song allows for an appreciation of both sides and what makes so many people’s lives what they are. With the arrival of the new year, Kali Uchis has already become a candidate for album of the year because of her affectionate voice and enchantment. This project may be one of the most versatile and flexible listens of the year so far.
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