EL VENDEDOR DE ROSAS OR HOW TO ROMANTICIZE THE UNATTAINABLE: INSIDE RAUL CLYDE’S SOPHOMORE ALBUM

I have always been obsessed over reggaeton and its roots, and I have to say that I’m excited to see how this genre is gaining mainstream status in Spain. Since forever, in this country, we have been consuming the greatest from PR like Daddy Yankee, Don Omar, Ivy Queen or Wisin & Yandel. Their tunes have inspired a generation of chonis and canis to pursue their dreams and liven up party nights. Reggaeton is a Latin American music genre that was consolidated in Puerto Rico in the 1990s. It blends Spanish-language reggae, Jamaican dancehall, and rap, and is defined by its danceable “dembow” rhythm. Originating in marginalized neighborhoods with lyrics addressing social issues, love, and celebration, it has since become globally popular, often featuring more sensual themes. 

Talking about reggaeton we cannot underestimate the work of Raul Clyde (Aldaia, Valencia, 1997), pioneer in the nostalgic sound of reggaeton in Spain that was translated into a contract under Bad Bunny’s label, Rimas. He was, in fact, along with Saiko, the promoter of the new wave in Spain that is flooding musically on social media. He grew up surrounded by the rhymes of pioneers like Tego Calderón and Ñengo Flow which led him to understand the old school Puerto Rican sound. “Tuenti – Remix” put him on the map, back in December 2022; but for the artist music is more than hit singles, there is a conscious attempt in releasing LPs and EPs that explore different visual languages with reggaeton tunes at its cores. For example “DESTINO 2014” is a trip aesthetically to a decade ago, a revision of what was trendy and how culture can be adapted over the years, the collaboration with Jowell in “griselda” was a dream come true for the artist. And in the case of “LOS DE LA NUEVA ERA” is his attempt of defining who is relevant in the urban landscape across Latin cultures, from Spanish duo Xiyo and Fernandezz to Chilean SINAKA. Spotlighting the artists that are crafting the sound of the future for the genre, making sure that they have their space in an over-saturated industry.

On March 13th, Raul Clyde released his sophomore album “El Vendedor de Rosas” (“The Rose Seller”), an exploration of street life filtered through personal storytelling, emotion, and modern Latin urban sound. It is interesting to see how he can fuse the emotional voice of Maig in “el disco de ferxxO”, the raw underground rap of Gloosito in “GRACIAS DIOS” and the tamed but exciting collaboration of Frozt and Raidi in “QSUCEDE?”. I also want to highlight ladiferencia2006 and how with a beat of Came Beats, they just created the hit of the album and is getting a Gallery Session (much needed to shine the talent of ladiferencia2006). As always, the work of Raul Clyde feels more as a creative hub for talents that are under-appreciated than as a soliloquy made for his fans, he is relying on the power of his fans to launch the careers of new talents. Blue roses are the most remarkable visual element of the new album, that primarily symbolize mystery, the unattainable, magic and difficult or impossible loves. They represent exclusivity, trust and the hope of achieving distant dreams, making them a profound and original gift for unique individuals. A clear message that we can see through the songs of the album where love, attitude and emotional duality become the center theme of it all.

At midnight of the same day of the release, the artist organized a Release Party Album in La Riviera, Madrid, where his new alter-ego El Vendedor de Rosas, presented some new songs live for the first time. Like “1DESEO”, “NOTAS DE VOZZ” produced by Sergi El Combo, “TU DÚO FAVORITO” with Saiko and BART SIMPSON. Without forgetting the tunes that have defined his short but meteoric career, “Tuenti – Remix” with Saiko and “Tiendas” with mvrk produced by Arcones. The night was an amalgamation of Latin rhythms where different DJ Sets from national personalities express themselves with rounds of 30 minutes each that define their musical taste and let the public go crazy with hits from other urban artists. Sergi El Combo, Pipo Beatz, Bumbum, PapiGavi or Carlos Ibañez brought the flavor of what in Spain is understood as Latin urban sound. An atmosphere marked by heteronormativity and masculinity that was broken on a few occasions, but which set the course of the night, with the appearance of Kristina singing alongside Raul Clyde their hit 7VIDAS, one of the singles of KRISTINEANDO EDITION. But also, I want to highlight the energy that Carlota bring to the table and how his masculine side appears through his selection of songs but remaining feminine on how she dress herself, becoming a desirable object for the target listener of Raul Clyde, but a visual scape and representation for other genre and sexual expressions that might be in the event.

I am curious to see this collaborative world that he is presenting in the LP, in the tour, in the live concerts (that I hope we get for Fall of this year and continue until the Summer of next). How is he gonna get people’s attention without his collaborators being present? Is he gonna rely on outstanding visuals that generate an appealing performance for his fans? Are we going to get selected dates that serve as a festival to highlight the power of the talents? After being the opening act for Mora’s Estrella Tour and finishing his last tour with a sold-out Palacio Vistalegre in Madrid, I am so excited to see how this era progresses, and how colorful the visuals are (because the music videos have been lacking that part, they served as mood setters, but don’t represent that visual aspect of the album after its release). We will keep an eye on El Clio from now on.

words: @alraco43