Once again, our Brazilian blonde delivered everything. Escândalo Íntimo is the newest album by pop singer Luísa Sonza who, after almost two years without releasing new songs, brought a tracklist different from what we usually see and therefore made a significant impact on music platforms.
Escândalo Íntimo, initially, has 18 published tracks and 6 tracks still blocked, which may or may not be released by the singer. The album portrays all the feelings and the trajectory from the beginning to the end of a romantic relationship, containing its ups and downs. But, upon understanding, we discover that it addresses the singer’s relationship with herself, her mental health, and the expectations she creates about another person.
“This album is about love stories that went wrong, especially the one between me and myself. Nightmares. A self-analysis of an abusive relationship, more with me than with others, which I only discovered in the middle of the whole process. How stupid of me to think that anyone other than myself was to blame for everything I did to myself.”
Luísa Sonza at Instagram
This album is purely about Luísa, about her and the feelings that she experienced at a stage in her life. The singer has already stated in interviews that during the creation process, she underwent constant psychological treatment, which served as help, motivation, and inspiration for the artist to express her feelings in the form of art.
The album is divided into four blocks, (let’s call them A, B, C, and D), with each block separated by an “Interlude -” together they form “Todas as Histórias de Amor Dão Errado (All Love Stories Go Wrong)”. The “Interlúdio – De Amor” is still blocked and according to the singer, it is the audio of her actual breakup.
In all the tracks, Luísa sought references from Brazilian artists, such as Elis Regina, Abílio Manoel, and Rita Lee. All the songs bring some references in a new way by the singer to put in her music.
So let’s analyze each block and understand the story of Escandalo Íntimo:
BLOCK A
The first block talks about the empowered, strong, determined woman, who gets what she wants and fights for her goals. It discusses an armor created by Luísa as a way to combat media criticism and prove to herself that she can be strong. In an interview, Sonza says that in this first block, there is a very implicit criticism regarding being a pop artist within the industry and in many parts, she makes it clear that it is not normal.
- Escândalo Íntimo
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The first track on the album is just an instrumental of the song “Hotel Room” by Hareton Salvanini, which was the soundtrack for the film The Virgin of Saint Tropez.
- Carnificina
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Of all the songs in this first block, this is the one with the most lively beats throughout the song. Carnage addresses the artist’s defensive instinct, the need to prove that she can and does, and shows the character’s determination. Excerpts like “The fear that instigates/ He hates me because I put the screws up there/ Cold and calculating” and “I have a number and I’m still an artist” address this in the track.
- A Dona Aranha
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This track brings the sex theme to this block. Another track still has a lively rhythm and alludes to the character’s lust.
“Oh, I’m climbing the bedroom walls/ Come make me lеvitate when I’m on top, yeah/ I roll my ass on all fours, I know you like it”.
In a creative way, the singer brought to this song a mix of English and Portuguese and also an excerpt from the children’s song “A Dona Aranha”. We can analyze this excerpt as an allusion to Luísa’s career and life. “The spider lady climbed up the wall/ The heavy rain came and knocked her down” in reference to the moment when Luísa was heavily criticized for her songs and positions and “The rain has already passed, the sun is already rising/ And the spider lady continues to rise ” in reference to the artist’s current moment, the problems have passed and the blonde’s success is increasing.
- Luísa Manequim
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In my opinion the best on the album! A clear reference to the song “Luiza Manequim” by Abílio Manoel, contains excerpts from this song as well. This track may bring a certain allusion to Luísa’s own life, her talking about herself and what it’s like to relate to the woman “Luísa Sonza”, and satirizing her own character, bringing up the idea of high ego and self-esteem.
- Bêbada Favorita
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One of the tracks is blocked, but from the next track, we can understand that this song could be the beginning of the character’s new phase, where she probably meets someone and ends up declaring herself in the euphoria of drinking.
- Interlúdio – Todas as histórias
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Here the block division occurs. The interlude is an audio from the character to a friend with her voice somewhat choked from drinking, telling her that she is in love. For shippers of the couple, here in this audio, the singer Luísa spoke about Chico Moedas, her current boyfriend.
block b
In this second block, this carnal moment of the character takes place, where she begins to understand the passion she is feeling and as the tracks pass she becomes more and more intense and surrendered to this love.
- Romance em Cena
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A feat with Marina Sena, in a funny way the name of the song plays with the singer’s name. Here the music addresses that uncertainty as to whether it will be just another scheme or whether it will be a true romance, it is a very intense song that reinforces this carnal side of the character.
“But if you agree, I’ll give you my phone number/ For the contact list of those who eat and disappear/ We can be/ Romance on the scene”.
- Campo de Morango
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A very controversial track. “Campo de Morango” was the first track released with a clip making an impact on the media. It is the song that differs most from the entire album, at 1 minute and 16 seconds and was used as a strategy by the singer to draw attention to her new releases. From the clip, we realize that it is an erotic dream of the character, probably with the person for whom the character has been developing feelings.
However, the track can leave a bitter taste in the mouth of the most attentive, who, if they pay attention to the lyrics, notice strange signs. The lyrics “I dreamed of strawberry fields/ You were tasting the fruit while I was getting excited/ I woke up, you were calling me/ I was on the sidelines and you were putting it in” suggest that the character in the song wakes up being penetrated – in other words, rape of a vulnerable person occurs.
- Surreal
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A feat with Baco Exu do Blues. Another song that addresses sensuality and sex but this time with the beginning of a feeling, where it becomes a “visceral affair”, something that she can no longer let go of. As the song progresses, she begins to develop love. In this song there are references to the artist Salvador Dalí and a reference to the song “Hotel Caro” by Baco in partnership with Luísa.
- Chico
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“Chico, if you want me”… The song that captured our hearts and now we all want a Chico. This track was a statement from Luísa to her current boyfriend and complements the plot of the tracklist. Unlike what we usually hear from the singer, this is a bossa nova style song with a calm rhythm that brings us a reference to the lightness of love. At this point, the character is already committed to love and is willing to live something with her loved one. A curiosity about this track is that Luísa wrote it by combining excerpts from songs that Chico Moedas likes.
- Sagrado Profano
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Another track blocked in partnership with Kayblack. In some interviews, Luísa stated that this album would bring a great duality between HEAVEN X HELL, hence the name of this song. This track will portray the couple’s first fight, ending the love phase of the album, starting a slight jealousy between the two, according to Luísa.
- Interlúdio – De Amor
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This was the only blocked interlude and for a special reason. This interlude contains audio of a real breakup by the singer Luísa and it ends block B. Yes, friends, Luísa didn’t come to joke.
block c
Block C brings us a very critical phase of the relationship, very heavy moments that Luísa lived in her life and decided to expose in music. The opening block to a toxic and abusive phase of a destroyed relationship.
- La Muerte
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Track still blocked, but we can speculate something more focused on the spanish, and based on the title, perhaps the death of the relationship. We will see in the next chapters.
- Onde é que deu errado?
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This one clearly addresses the phase after a breakup, but the character’s position is still tied to the relationship, she is unable to let go of the things that refer to the couple.
“Throwing everything of ours in the trash/ I try, but I can’t” […] “Depend on a sick love/ One day you were my gift”.
- O Amor tem dessas (e foi melhor assim)
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Music blocked.
- Penhasco2
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Next comes the long-awaited “Penhasco2” that Luísa gave us in partnership with the iconic Demi Lovato. “Penhasco2” brings the post-breakup mourning phase when the character feels empty. Luísa brings many references that refer to this loneliness during the song, such as: “Empty glasses, silence and noise/ The house is too big, too empty with me”. According to the singer, this is a song that is slowly being digested by the public and could have a greater impact after her documentary that will be released on Netflix.
- Outra vez
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This track portrays the character’s last idea of a relationship and is the last song in the block. As if the character is remembering the relationship in a melancholic way long after the end and she feels alone and there is no one to fill this feeling, she remembers that “there is still you”.
“Once again, here I am, clinging to the pain/ I screamed, I smiled, it took a while and it passed/ But when there is no one else/ There is still you”.
- Interlúdio – Dão Errado
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Last block division. In this interlude, the singer gives a new meaning to the song “Não me deixe só” by Vanessa da Mata, modifying the singer’s voice. It brings her phase with herself, where she is afraid of facing herself, afraid of the ghosts of her own voice.
block d
Finally, the last block, which addresses Luísa looking at herself, her desires and nightmares created by her own unconscious. It’s Luísa’s conclusion about herself. In an interview, she refers to this fourth block as if she had come out of therapy.
- Principalmente me sinto arrasada
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Block D begins with an anxiety attack, where the character becomes lost in her own thoughts. The division of the song into 3 parts portrays her in the midst of a crisis and rising on her own in the last part, realizing that she needs to leave these situations aside and she rises up in this relationship with her own self.
- Ana Maria
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The time has come to overcome. In a feat with Duda Beat, Luísa finds herself at ease, she finds herself again. She realizes that she doesn’t need to be stuck in that love anymore. There is also another way we can interpret it as Luísa herself overcoming personal problems with her mental health, overcoming media criticism and opening up the opportunity to be herself. In this track there is a sequence of “Interlúdio – Dão Errado” in the section: “I no longer feel afraid of the dark/ Now he is afraid of me” and there is a reference to the presenter Ana Maria Braga.
- Lança Menina
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In honor of Rita Lee, making reference to “Lança Perfume”. This song brings the moment when she comes to the realization that she shouldn’t blame herself for the abusive relationship she lived in, that she is neither good nor bad, she is purely herself.
In this part of the album she talks about Luísa as a person, and In order to counter the way people judged her and how they doubted her talent, she talks about how she likes what she does but that she is no expert, showing how she is also always learning from all of this. In this track, the singer shows her nuances and just as Rita Lee said “Because she is exactly like that…”.
- Não sou demais
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In the penultimate track, Luísa brings up that in this case the abusive relationship she had was with herself, but it is the conclusion of the album, where she says that she will not always be good and she will not always be bad. The singer’s idea is to combat this duality that fits her, that she is bad or she is good. And, basically, that’s the overall conclusion of the album.
“I’m not too much, nor too little shit.”
- You Don´t Know Me
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It’s the last track on the album and it’s still locked. According to the artist, we will meet a Luísa that we have never seen before.
Yes, our little blonde really killed it on this album, she had the courage to open up her most intimate feelings to the public. Most of the songs and clips are inspired by some nightmares that the singer had, and motivated some songs from block D.
“This album is long, and as it is! It’s a long story… I hurt so much for so long and now everything about my most intimate self will be there, for everyone to see and hear. You will understand little by little…”
Luísa Sonza at Instagram
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The article above was edited by Clarissa Palácio.
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