Since late 2022, Puerto Rican singer-songwriter GALE has been on the come-up, and music publications have become wary of such. Safe to say, I was also on that delayed hype train quietly amassing for GALE like a Karol G co-sign and a significant spotlight/interview with Rolling Stone. Whether early or late, getting to listen and explore Gale’s artistry has been nothing short of refreshing. She doesn’t try to find herself pushing weight through meandering notes in the ever-growing popularity of Latin-Trap and Reggaeton. Instead, she’s finding footing in pop and weaving styles that fit the artistic vision on her new album, Lo Que No Te Dije, translated to “What I Didn’t Tell You.” For GALE, It doesn’t matter how effective the song may be, as evidenced by the fun cheekiness of some songs, like “D Pic,” a mild-mannered tune that aims at the immaturity of dick pictures through texts – as you dive into the album, for its faults, it’s a refreshing listen, especially as she makes something out of the tried relationship-context for pop songs.
What’s unique about Lo Que No Te Dije is its self-reliance on trying new sounds while leaving an empty slot for GALE to bring vocal subtleties through her melodies, giving us to hear a more rounded product. It makes the transitional sequencing feel fluid, like when it shifts from the electronically bombastic “Problemas” to the smooth cadence of the percussion-driven “La Mitad,” which takes influence from Reggaeton in the drums that adds oomph to keep overtures balanced. It then shifts to this excellent acoustic pop song (“Ego”), where GALE flexes her independence from an egotistical and possessional ex. Here, we hear a defining aspect of GALE’s artistry – following the same strength of song-to-song transition, “Ego” sees a similar cadence in language transitions. Many things are working for Lo Que No Te Dije, specifically the energetic and natural catchiness of varying songs, buoyed by solid production from DallasK and Josh Berrios. They bring a transparent layer between sounds, allowing the vocals to feel the importance of backing sounds, heartening the emotional poignancy in the songwriting.
Lo Que No Te Dije is conceptually thematic, focusing solely on relationships and deconstructing the varying characteristics one experiences, or many times, more personal. It wears its heart on its sleeve, and if it kept that sonic and tonal consistency, GALE could have delivered something more profound, but she takes unique turns that bring forth a vaster range of relativity. GALE can shift the context of a song and make it fit a specific tone without feeling overly hokey. We hear it with “D Pic,” where she takes an empowering and sardonic tone when bashing her man for sending a dick pic in the middle of the night – we hear it with “Killah,” where GALE feels the power, knowing what she loves and the control she wields, using a metaphorical gun and bullet to express it. As standalone tracks, they still show GALE’s talent as a songwriter but don’t feel entwined with the emotional complexities of other songs, especially the dynamite “Problemas” and “Nuestra Cancion.”
Taking into account the varying angles GALE tackles the sounds of this album – one can readily feel disappointed by the slight disjointedness of these cheeky but explorative pop songs that take an inconsistent pivot from the emotional complexities of others. As I’ve noted, the tracks “D Pic” and “Killah” slightly fit the album’s focus on deconstructing a relationship through this vast worldview on living, but these songs don’t bring much to contain that establishment. They are more so there to reinforce GALE’s self-reliance and confidence. “D Pic” is a fun pop romp that wants to focus on the guitars but forgets close to halfway. “Killah” is another Tropical Reggaeton/Pop song that doesn’t feel that ambitious or colorful, reminding me more of a throwaway that’s added so the album doesn’t land below 30 minutes. Fortunately, there are other reasons to enjoy the album, like some of its reference points and influences within the soundscapes.
As it’s been with pop and music in general, use of influential references becomes more apparent within the soundscapes, like the disco flavors in synth-pop or the electronic elements in Latin Trap. It’s this evergrowing way of building and exploring new foundations, shifting how we hear them sonically, like when Melanie Martinez interloped the melody from “If You Had My Love” by Jennifer Lopez on “Brain & Heart.” Here, those moments, at first, become bewildering and then refined and beautifully resonant with outer notes within the progressional melody. The standout moment comes on “Problemas,” which beautifully incorporates aspects of Justin Beiber’s first verse melody on his powerhouse hit “Baby.” It’s subtle but brings an impactful punch, like the EDM synths on “Nuestra Cancion” or the timid but pertinent consistency of the synth-pop rock sounds of the late 2000s on “Triste.” It’s just this prevailing trip to listen to and get lost in as you feel powerful emotions and dance.
Though “D Pic” and “Killah” are slight “blemishes,” they don’t fully take away from the great stuff going for the album, especially its catchiness, which will definitely have me returning again and again. It didn’t strike a chord initially, but as it kept looping, I heard the luscious details imputed into the tracks, bringing forth something multi-dimensional. It’s a fantastic reintroduction to GALE, but it still doesn’t have the strongest landing. It comes with direction and a sense of being – individualization – yet, the hiccups do stand out, and it lessens this to another solid pop album that will stand the test of time, or so I hope.