In numerology, the number 9 symbolizes the completion of a cycle, spirituality, and humanitarianism. It is also associated with strong intuition and the search for a higher purpose in life. It is no surprise that Mon Laferte’s 14-track ninth album, titled “Femme Fatale,” is a volcanic expression of femininity and the most powerful, spiritual, and intuitive display of the Chilean artist’s musical, lyrical, vocal, and performative talent.
Mon Laferte – “Femme Fatale” (Official Lyric Video)
In her own words, Mon Laferte explains, “I wanted to capture in ‘Femme Fatale’ the beauty of a woman in all her forms, sometimes sensual, glamorous, radiant, intimate, or public, but also chaotic, disheveled, unhinged, and decadent during her eras of love and heartbreak.”
Musically and lyrically, Mon Laferte presents an exquisite portrayal of modern femininity through the stages of love, exploring lounge sounds with live musicians and arrangements that blend jazz, bolero, lyrical pop, and the most nostalgic, introspective, and sensual elements of music that carry the night within itself.
Mon Laferte – “Melancolía” (Official Lyric Video)
The lead single for the album is “Melancolía,” a song that evokes the early days of Spanish-language rock from the 1950s and 1960s, without losing the introspective quality that defines “Femme Fatale.”
Mon Laferte, NATHY PELUSO – “La Tirana” (Official Video)
Argentine artists Nathy Peluso and Conociendo Rusia join Mon Laferte on two singles already available, “La Tirana” and “Esto Es Amor,” respectively. Brazilian singer-songwriter TIAGO IORC is featured in the track “Hasta Que Nos Despierte La Soledad.”
Natalia Lafourcade and Silvana Estrada join Mon Laferte in “My One And Only Love,” marking the first bilingual composition Mon Laferte has ever released.
Mon Laferte – “Mi Hombre” (Official Lyric Video)
“Mi Hombre” is her version of the French song first performed at the Casino de Paris in 1920 by the iconic Jeanne Bourgeois, better known as Mistinguett. Another nod to the femme fatale iconography.
Mon Laferte
“Femme Fatale,” “Mi Hombre,” “Otra Noche de Llorar,” “Esto Es Amor,” “Veracruz,” “El Gran Señor,” “Las Flores que Dejaste En La Mesa,” “1:30,” “Ocupa Mi Piel,” and “Vida Normal” are all testaments to Mon Laferte’s extraordinary ability to turn stories of betrayal, money, and heartbreak into musical and interpretive art so powerful that, as she herself says, “they open wounds in order to heal.”
“Femme Fatale” arrives with a strong aesthetic and visual concept, where the diva of the night unravels through traditional images of broken beauty, devastatingly sexy in their tragedy, or embraces today’s sad girl look, once again blending the past and the present. The videos and visuals are a historical collaboration between the artist and Chilean director Camila Grandi.
With this, Mon Laferte delivers her ninth album, powerfully feminine, powerfully vocal, powerfully nostalgic, and powerfully contemporary. A bold, daring work, as only she could create.
In addition to the release of Femme Fatale, Mon Laferte is also celebrating the success of her starring role in the Mexican stage production of Cabaret, with 18 sold-out performances in Mexico City, as well as two new Latin GRAMMY® nominations, bringing her total to over twenty, and three GRAMMY® nominations in the English-language category.
Listen to Mon Laferte’s “Femme Fatale” Album
We recommend adding Mon Laferte’s “Femme Fatale” single to your favorite Rock y Alternativo playlist. We would love to hear your thoughts! Comment below and let us know how you feel. Your feedback helps us bring you more of what you love to discover. As always, thanks for reading another great article on Bong Mines Entertainment, your go-to source for new music and entertainment news. Connect with us on X, YouTube, Instagram, and Facebook to share your thoughts and stay updated. Subscribe to our newsletter, grab some merch, and support us as a Patron of Bong Mines Entertainment, “the hot spot for new music.” Remember, (P)ositive (E)nergy (A)lways (C)reates (E)levation—P.E.A.C.E.
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