Nathy Peluso has just debuted her long-awaited album ‘Calambre,’ a collection of songs that show off her stylistic versatility, sharp hip-hop, sleek retro R&B, and even her modern take on old-school salsa. You can find her new album on all the platforms including Spotify.
“I don’t want to please.
I want to provoke.”
About Nathy Peluso
|“She might shock you. She might crack you up. You can’t ignore her. Nathy is a larger-than-life consummate performer with a histrionic personality; a much-needed antidote to the sameness of current Latin urban and pop.
Nathy Peluso was born and raised in the working class neighborhood of Saavedra in Buenos Aires. When she was 10 years old, her family moved to Alicante, Spain, in search for better economic opportunities. She grew up in a music-loving household, listening to a wide range of artists from Gloria Estefan and Caetano Veloso to Argentine rock such as Pappo’s Blues and folk like Atahualpa Yupanqui, while attending dance classes and singing in her local chorus.
As a teen, with a smartphone in hand, she discovered hip hop through artists such as Notorious BIG, Snoop Dogg, 50 Cent and Timbaland. Even though Nathy couldn’t understand the lyrics, she was immediately enthralled by hip hop’s attitude and irreverence. Early on, she discovered she could rhyme just as she could harmonize, as evidenced in fan favorite anthem “Corashe”, and 2020 banger “Business Woman”.
Likewise, she thrives creating characters, making up accents and easily code switching between styles, genres and languages. “I get really bored being the same person. I like to dig for characters inside of me. Sometimes for drama, sometimes to laugh, cry or get angry. It’s all a reflection of what I have inside me, that intensity.”
After a short stint in filmmaking school in Murcia, where during the summers she used to cover jazz standards, Celine Dion and Raphael at coastal tourist bars, Nathy moved to Madrid and enrolled in a visual arts and dance education college program. She found her tribe among theater kids and faculty (many of whom also from Latin America and the Caribbean), and started singing and writing instant poetry in the street as performance art (and for some pocket change). Nathy’s knack for improvisation and physical theatricality, an integral part of her explosive live shows, can be equally traced to her love for the experimental British dance company DV8 as well as to the Jim Carrey movies she grew up on.
In fact, 90s and early to mid-2000s pop culture influences such as Missy Elliott, Christina Aguilera, and Beyoncé are vividly represented in ‘Calambre‘ (which means “electric shock” in Spanish), co-produced by Latin GRAMMY and GRAMMY-winning producer Rafael Arcaute (Luis Alberto Spinetta, Calle 13). “I just love the records from that era, the melodies of the catchy hooks and the over-the-top pop aesthetics,” she says. Case in point: Tracks such as “Delito” and “Trio” have strong, turn-of-the-century R&B, hip hop and pop vibes and were produced in Los Angeles in collaboration with producers Federico Vindver (Kanye West, Missy Elliott) and Angel López (Chance The Rapper, Sam Smith).
The empowering bright pop number “Sugga”, has wind and horn sections arranged and performed by legendary Prince collaborator Michael B. Nelson. Nathy breaks conventions throughout the album, channeling different moods and even personalities within single tracks that tackle topics such as love, infatuation and lust.
“Amor Salvaje” starts as a 90s R&B and then switches to a club-ready reggaeton, while album closer “Agarrate” begins as a tango bolero and then turns into a violent hip hop affront. Then there’s her obsession with Ray Barretto, Willie Colón and salsa gorda, which is captured in “Puro Veneno”, recorded with a full salsa band in Puerto Rico during the pandemic with Nathy recording vocals in Spain, although you would never be able to tell this was done remotely from the scorching resulting song (arranged by veteran tropical keyboardist Ramón Sánchez, who has worked with Gilberto Santa Rosa, Jerry Rivera and others).
Visceral and vulnerable, sexy yet nonconforming, onstage and online, Nathy’s passion and unique sensibilities are charming fans all over the world. Before getting signed by Sony, Nathy released two independent EPs that made a splash in the underground urban and alternative scenes in Spain: 2017’s breakthrough ‘Esmeralda’, a collection of singles; and 2018’s ‘La Sandunguera’, in which she channeled an ironic, liberated version of a Latina femme fatale. With the success of “La Sandunguera”, Nathy played in her native Argentina for the first time and made her North American debut at the Latin Alternative Music Conference in New York City’s Central Park.
“My career is entertainment, not just music,” says Nathy of the fearlessness that drives the overarching concept for the album, including the Grace Jones-inspired album cover. “I’m the one who takes the plug and causes the shock – of passion, happiness, whatever it is, I want to stir people’s guts without them being able to contain themselves.”