What began as a pandemic-era diversion into Catalan-language reggaeton has evolved into one of the Valencian music scene’s most dynamic acts. The group Malifeta, born from the creative energies of members from acclaimed bands ZOO and Pupil·les, has not only cemented its lineup with a new album, Brega, but has also become a voice reflecting on the profound changes within Catalan music itself – a scene that has journeyed from resistance to mainstream appeal.
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Arnau Giménez of the renowned Valencian collective ZOO and Mireia Matoses of rap group Pupil·les formed Malifeta in 2020. Inspired by the global success of Bad Bunny’s album YHLQMLG, their initial foray was a lighthearted experiment in reggaeton. However, their second album marks a significant pivot. The band has embraced a more electronic sound, infused with sharper social commentary, and expanded into a full-fledged collective.
From Duo to Collective
The new album, Brega, sees Malifeta transform from a core duo into a powerhouse band. New additions include a third singer, Ana Rajadel, alongside a brass section and keyboards featuring fellow ZOO members. This expansion has naturally reshaped their sound.
“We’re tired of reggaeton now,” Arnau Giménez admitted in a recent interview with VilaWeb. He explained that performing an entire set of reggaeton had become “a bit monotonous.” The shift to a more varied, electronic style was a conscious choice “to have more fun, to let loose and jump around more at concerts.”
The new sound inevitably draws comparisons to ZOO, a band known for its blend of hip-hop, ska, and electronic music with potent political lyrics. Giménez, who co-wrote much of ZOO’s music, acknowledges the similarities. “It’s inevitable that there are reminiscences,” he said. “The more political, the more electronic songs, could certainly fit on a ZOO album.”
One of the most compelling stories in the band’s evolution is that of its new singer, Ana Rajadel. Originally from Teruel, she began her career behind the scenes, managing social media and communications for ZOO. Her recruitment proved serendipitous. “Arnau heard me singing in a van on the way to a concert,” she recalled. “One day, Mireia asked if I wanted to work with Malifeta. I said yes, thinking it was for communications… but she said it was to sing.”
The Politics of Language
Rajadel’s connection to the language is deeply personal. Though not from a Catalan-speaking region, her father, from the Matarranya area of Aragon, spoke to her in Catalan. “It all started because my father gave me the gift of his language,” she said, explaining how this heritage connected her to the culture and music of the Països Catalans.
This deep-seated link to language and culture informs the band’s more critical new direction. As ZOO and Pupil·les concluded their journeys, Malifeta’s members naturally gravitated towards incorporating the political and social commentary that defined their previous projects.
This shift comes at a fascinating time for music in Catalan. The scene is experiencing an unprecedented boom, with artists achieving levels of success that once seemed impossible. However, as Giménez observed, this new wave is often different from the politically charged rock català of previous generations.
“Before, music in Catalan was music of resistance, very politicised, and now that has changed. Which I think is a good thing,” Giménez stated. “Given the situation of the language, we need everything. We need all kinds of culture, and not all the culture we make has to be explicitly political.”
He noted a curiosity in this trend, particularly in Catalonia, where a period of intense political turmoil has seemingly given way to a more “depoliticised” cultural output. “Perhaps they are fed up and want to let loose,” he mused. This changing landscape is also reflected in policy, with recent government efforts to bolster the language’s presence, such as the 25% Catalan music quota for radio.
Yet, for Giménez, the political dimension is never truly absent. The precarious state of the language, a reality also seen in the decline of traditional Catalan names, means any cultural act carries weight.
“Unfortunately, the linguistic and cultural situation we live in means that anyone who sings in Catalan, whatever they sing, is engaging in activism in defence of the language,” he argued. “We have to assume that we are a language that is not powerful… simply using it is defending it.”
Despite these challenges, the band sees a healthy and vibrant scene, particularly in the Valencian Community. Rajadel highlighted a promising development: “There are many women making music. When I arrived here, there were few projects, but now you go to the Ovidi Awards and almost all the winners are women. That is a very good sign.”
