Note: The scan does not include the tracks “BREAKFAST”, “ANACONDA” and “Runaways”, as they have not yet been officially released.
Luísa Sonza released her debut studio album in 2019, “Pandora”, whose own cover already referred to Michael Jackson’s classic “Dangerous”. Her eminent notoriety was only reiterated with very positive reviews and an enviable artistic maturity for a 21-year-old girl. Years later – and having gone through a very complicated time, given the end of her marriage to the comedian and unwarranted attacks from netizens – Sonza came back stronger than ever with a powerful, touching and sultry second production, titled ‘Sweet 22’.
The marketing of the album itself is already a cause for analysis, as the singer and songwriter was astute enough to release it on her 23rd birthday – something which, for her, represented a sudden change in her. career and personal life. On fourteen tracks (three of which remain a mystery, as they weren’t released on digital platforms), Sonza is inexcusable of her own body and her own career, borrowing pages from icons of the global music scene, including Madonna. and Britney Spears, to shape a positive body image and celebrate all your innermost desires. Of course, some more conservative people (read “backwards”) may regard the explicit lyrics as lack of thoughtfulness or good taste – but in the end, that doesn’t matter and just reiterates what the artist brings to his product. .
Despite betting on chips similar to “Pandora”, performing a movement of expansion and contraction that ranges from familiar and repetitive forays of Brazilian funk to the multicultural amalgamation of Arab pop. “INTERE $$ EIRA”, the track opens this new musical journey, brings an interesting and little explored element in terms of national reach – in which Sonza decides to declaim instead of just singing, addressing the first hard-hitting verses to all the enemies who wanted to decrease it (without any success); the fusion of soft-techno and funk dictates the atmosphere of the first tracks and is repeated in the entertaining “VIP * – *”, whose sensual content is touched by the profusion of trumpets and an echoing synthesizer. In “WOMAN OF THE YEAR XD” the “Brazilians” speak louder in a powerful feminist anthem, with a deliberate lyrical shock that only rehashes the fact that the singer can be as raw as any man.
It should be noted that ‘Doce 22’ is divided into two very distinct moments – at the same time it is united by the similarity of the themes explored. This dichotomy is quite marketing, considering the hundreds of albums released day after day both in the country and around the world, but, in the end, such practicality is quite functional. After the livelier, more dancey tracks, Sonza feels the need to turn to herself in reflecting on the choices she has made in recent years and how pain continues to accompany her. The construction of “INTERlude :(” is a bit too obvious and doesn’t even try to be original – but premeditates the incredible “best alone: -) -:”, one of the best constructions of the work. Moved towards the melodic drama of the accordion, the artist embodies her inner Toni Braxton, without losing sight of what makes her unique.
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One of the most appealing aspects of the tracks is Sonza’s enviable ability to unite conflicting instruments without letting the progressions pile up into an amorphous, indecipherable mass. Since the beginning of her career, the singer has shown her appreciation for different genres, including confessional digressions of ballads, the jocularity of rock-pop and the stylistic preference of classic MPB. In “cliff”, she reveals the wounds she still carries and uses the music itself in a metapoetic exercise, understanding the reason for being injured in consecutive lines such as “I had to unlearn how to love you. so much “and” you know call I’m going to go. “The progression, theatrical for some and evocative for others, is carried by the powerful transition from piano to percussion, pulling Sonza’s best vocals in a sentimental explosion.
The expressive lapses of the work are few: in addition to the aforementioned spoken interlude, there is also an imbalance of inspiration in “MODO TURBO”, the first official single released at the end of last year. Even with the unpretentious atmosphere and fun collaboration of Pabllo Vittar and Anitta, the result is overshadowed by better-produced pieces – in which the artist does exactly what she wanted in a smart and engaging way, like this. is the case with the pop-reggae in “chaos / flower ***” and the vibrant R&B of “2000 s2”, which pays homage to Spears and Pussycat Dolls.
But these are the last two tracks that exceed all our expectations: Sonza demonstrates total mastery of her artistic forays, as well as a bubbling maturity that places her at an honorable level in contemporary music. In “the story of two worlds (hypocrisy)”, she realizes that she has to get away from what does her no good, before coming to a decisive conclusion shared with Lulu Santos, “I Don’t know anything either: D “, whose parallel opening is cold in the back and proceeds to a breathtaking vocal chemistry.
“Doce 22” appears as the album that Sonza needed and wanted to release, as part of a healing process from so many ailments encountered in recent years. Finally, the unbridled effervescence of the songs is their greatest ally, bringing to life an incredible, solid and memorable journey.
Rating per track:
1. INTERE $$ EIRA – 4/5 2. VIP * – * – 4/5 3. TURBO MODE – 2/5 4. BREAKFAST; P (not released yet) 5. 2000 s2 – 4.5 / 5 6. ANACONDA * o * ~~~ (not released yet) 7. WOMAN OF THE YEAR XD – 4/5 8. INTERlude 🙁 – 2.5 / 5 9.better alone: -) -: – 5/5 10.fugitives 🙂 (not yet released) 11. cliff. – 5/5 12. chaos / flower *** – 4.5 / 5 13. the tale of two worlds (hypocrisy) – 5/5 14. I don’t know anything either 😀 – 5/5
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