MalegrĂa, Reyna Tropicalâs long-anticipated debut full-length album, is at once a vibrant arrival and an electrifying bridge. The portmanteau, born from a 1998 Manu Chao song by the same name, is akin to bittersweet and blends the Spanish âmalâ which means âbad" and âalegrĂaâ which means âhappiness.â It marks Reyna Tropicalâs movement from a duo to a solo project. The album is a contemporary celebration and continuation of wide-reaching cultural traditionsâfrom Congolese, Peruvian, and Colombian rhythms to revolutionary artists like lesbian guitarist-singer Chavela Vargasâthese influences meld and are remixed through the distinctive lens of trailblazing guitarist and songwriter Fabi Reyna. Traversing themes including queer love, feminine sensuality, and the transformative power of intentional relations to the earth, MalegrĂa spotlights narratives often pushed to the margins and offers them a sonic homeland.
Formed in 2016, Reyna Tropical began as an organic, unhurried exchange between Fabi Reyna and Nectali âSumohairâ Diaz who met during a workshop series for emerging musicians. âOur first EP was so spur of the moment,â Reyna recalled. âWhat we needed was to document, to just do something for our hearts. Not for money, not for our livelihood. Just for us.â The band formed when Reyna had been immersed in full-time work founding and building She Shreds, the worldâs first magazine dedicated to women and nonbinary guitarists, and was itching for a creative release and return to her musical roots. By January 2018, the bandâs self-titled EP, Reyna Tropical, dropped and the foundations of the bandâs spellbinding and distinctive sound were documented and formed. Best known for their rhythmic, hip-swaying tropical feel, the first Reyna Tropical tracks featured Ableton-made beats produced by Diazâfeaturing Afro Indigenous drum patterns and environmental samplesâexpertly mixed with dreamy guitar riffs and soft vocals by Reyna.
âThings kept comingâstudio tours, gigs, and different opportunities,â Reyna said while reflecting on the changes the band went through during the transition. âWe were like, âWhoa, this is so weird! Itâs working,â but we didnât even know what it was working for.â In 2020, after eight non-stop years building a business without time off, Reyna withdrew to nature for a community retreat. It was during this moment of stillness that the purpose of her lifeâs work, beyond running She Shreds Magazine, crystallized. For the next two years, Diaz and Reyna immersed themselves in a tropical journey guided by the musicâfrom Cartagena, Colombia to Fajardo, Puerto Rico and Cuaji (la costa chica de Guerrero)âalong the way, invited into a harmonious relationship with local land, culture, and music wisdom stewards. MalegrĂa is the culmination of self exploration fortified through an attunement to landâalongside Diaz and through his passing. From the interludes to the found sounds, MalegrĂa offers a home to diasporic beings de aquĂ y de allĂĄ, diasporic beings who are in the process of searching for and returning to ancestral roots.
On âCartagena,â the bright, multi-layered rhythms and vocals sing of feeling caressed and energized by the elements, and, at the core, there is the sense of a mutual exchange of trust and care between her and the land. By contrast, âLa MamĂĄ,â which opens in a seemingly-serene rainforest, builds into a drumline-backed battle cry denouncing the commercialization of healing and the spiritual tourists who seek only to extract from the environmentâmedicinal, or otherwise.Â
Photo by Devyn GalindoPhoto by Devyn Galindo
The interludes, which weave between each musical track, unfold a narrative all their own. âGoosebumpsâ and the subsequent âSingingâ each offer peeks into the beautiful, unexpected push-and-pull that can transpire amid symbiotic collaboration. We, as listeners, are invited into the creative exchange between Diaz and Reyna, and the growing sense of power Reyna has found and is now sharing with others through her music. Meanwhile âMestizajeâ and âQueer Love and Afro Mexicoâ work together to chronicle the unlearning of erasure under a flattened definition of unity and, instead, uplift the importance of naming and celebrating distinct multifaceted identities and histories.
These sounds seamlessly blend into the final track, âHuitzilĂŻn,â a tranquil, grounding ballad in which Reyna announces finally feeling her body, her spirit, her soul, and listening to all that surrounds her. âHuitzilĂŻn,â the Nahuatl word for âhummingbird,â is a symbol of Indigenous strength in Mexico thought to guide those who are struggling to find their way home.
âIâve always wanted to have a homeâa place or a sound or a person to go toâbecause I think our people, who are severed from our lands and our histories and our stories and our communities, have for generations not really known where to go,â Reyna said. âThere are times on stage where I can feel that my movement isnât my movement. I can feel that Iâm being moved by and Iâm speaking for other people. I know in my body when my ancestors are there, when a decision is us.â
Whether enjoyed during listening parties or infectious live sets, the music will move listeners and irresistibly command a jumpâinto action in protection of the land, into the arms of a crush, into your own power and fearlessness, into steady body rolls along to the beat. MalegrĂa offers us all a chance to witness history in the making.