Autopoiética

Chilean singer-songwriter Mon Laferte believes her latest work is also her best. The title refers to an entity’s capability to reproduce, or rebirth itself, a testament to Laferte’s intent to deviate from her previous work, which has spanned pop, rock, cumbia and heavy metal, scooping four Latin Grammys in the process. She describes Autopoiética as deeply self-reflective. For a creative who has lived in the volatile environments of Chile and Mexico, battled cancer and courted controversy with a topless political protest, there is surely plenty to ponder.

Opener ‘Tenochtitlán’ is equal parts grand orchestra and floating trip-hop, with spacey beats echoing around Laferte’s dramatic, soaring vocals. From there, it’s straight into ‘Te Juro Que Volveré’, an off-kilter, accordion-driven number adorned with rattling hand percussion. For the remainder of its run-time, Autopoiética explores soundscapes as diverse as moody salsa, thumping breakbeat, fizzing pop and slow-burning ballads.

Laferte’s earnest and impassioned delivery unifies the tracks, which resonate with a simmering undercurrent of instability. On even the brightest numbers, there is a sense (often correct) that something unsettling lurks just around the corner. The results are striking. Mon Laferte may well be correct in describing this as her most accomplished record to date.