By José Gandue @spinning zone

Fussy friends of criticism, old courtiers of sound and image, owners of unwavering opinions and intrepid repeaters of significant labels, Defenders of unchanging definitions: Yes, I'm talking to you, and I intend to shake your already antiquated, immaculate throne on which you sit when defining music. and believe that what they say feels comfortable and true. I'm also speaking to those who believe that traditional rock is the only place to be caustic and extreme in sound, the only fold to be rebels when it comes to sounding out, declaring and attacking the establishment. Ah, old friends, the world has changed (whether for better or for worse). Everything you thought the great gurus of contemporary music preached has changed., Sound genres have been transformed by curiosity, experimentation, global violence, necessary rebellion, and technology. Even pop music has stripped itself bare, shedding its veil of disguised innocence and resorting to noise to redefine itself. Misogynists have been filled with fear., because figures with aggressive discourse and aesthetics have escaped from the underground, including many women and sexual dissidents, to take over the main marquees of the show and break, little by little, with the order and peace of the censors of old.

So much stylized verbiage erupts when we hear Tanya, the new album by Argentinian Juana Rozas. This album, with 13 songs and a duration of 36 minutes, It is a compilation of corrosive recordings, that from its roughest moments, like those that can be heard in An angel o What does it matter?. ...even the calmer tunes like Tanya Loca, Abrasive elements are always observed that soil all the participating instruments, which, I speculate, are intended to disturb the audience., giving listeners a poisoned sonic dose that confirms that all the acts we consider benign (love, friendship, sex, happiness) can no longer, at this point in the 21st century, avoid being poisonous and difficult to maintain. Everything, fortunately, has broken free and escaped its confines, and we can hear ballads of dirty warps, like A little kiss for the flowers, that blend Andean arrangements with industrial sounds, or elements stolen from jazz that embrace percussion taken from hard techno as in Wanna Hotel. Rozas's voice constantly oscillates between tenderness, a cry of rebellion, distorting effects, and moments autotune who do not seek artificial perfection, rather the constant alteration of the landscape. 

If they sell you this album as new Pop, It is because the antiquated concepts that confined traditional pop music within the velvety walls of sentimentality and impunity have long since been demolished. Today, Pop, made in this way, is more consistent with reality and destabilizes the status quo. This is dance, revolution, an open resonant laboratory, and emotional, systemic, and social imbalance. We are in the most volatile times and, apparently, what this album expresses is a current part of the soundtrack of the days we are living.