Natalia Lacunza once again chooses to silence the noise. Following the luminous pulse of Tiene que ser para mí (2022), the Navarrese artist opens a new chapter with N2STAL5IA, her second studio album. It is a conceptual project born from introspection, stillness and truth. A body of work that rejects immediacy and builds a more mature, timeless and deeply generational emotional space.
The record features fourteen original tracks in which Lacunza delves into an inner landscape where attachment, heartbreak, loss, friendship and the bonds that reshape us in our mid-twenties all coexist. The title —a nod to the word “nostalgia” and the number “25”— captures its essence: an emotional journey through that vital threshold where we stop being who we were without yet fully knowing who we will become.
Collaborations that deepen the narrative
The album’s production was crafted alongside Pau Riutort, Diego 900, Barry B, Gara Durán, Andry Kiddos and Pablo Stipicic. The approach strips away ornamentation and prioritises what is essential. Voice, narrative and space take centre stage. The sound moves between atmospheric pop, introspective R&B and electronic landscapes upheld by meaningful silences. All of it serves an alt-pop narrative that is intimate, raw and honest.
N2STAL5IA arrives after early releases such as “Un Castigo” featuring Jesse Baez, “Apego Feroz”, the ballad “Otro Culito”, and “Singapur”, tracks that already hinted at the album’s emotional shift. The collaborations further expand this universe. Jesse Baez brings warmth and understated sensuality to one of the album’s most intimate duets. BEA1991, a key figure in Dutch experimental pop, strengthens the record’s atmospheric character with “Te Enamoraste”. Natt Calma and Nilusi add distinct yet complementary perspectives, rounding out the emotional map that runs through N2STAL5IA.
“SABES QUÉ???”: rupture and transformation
The album’s focal point is “SABES QUÉ???”, its most visceral track. Lacunza wrote it in Mexico during one of her recent co-writing trips alongside Diego 900, L’haine, Pablo Stipicic and Andry Kiddos. The final production, signed by Riutort and Stipicic, embraces a dirtier, more direct sound that breaks deliberately with the delicacy found in the rest of the album.
The song stems from a need to let go. To scream. To sing from a rawer place. It features a chorus formed by her closest friends, repeating her name —“N-A-TA-LIA”— as an inner dialogue. Voices that interrupt, that sting, but also that support.
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