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Vampires, reggaeton, Hollywood glamour: Get to know Isabella Lovestory

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Isabella Lovestory‘s newest album, “Vanity,” draws its mysterious influence not from the expected, but rather from a surprising tale – that of the folklore vampire.

She remarked, munching on tajadas at Rincon Hondureño restaurant in Los Angeles, “I have this sensation that I am like a vampire, and the object of my pursuit is myself.

It’s said that vampires can’t look at their reflection in a mirror due to some mysterious reason; this limitation makes them oblivious to their own appearance, leading them to constantly seek beauty throughout their lives. This enigmatic, mythical being is a fascination for the Honduran experimental pop artist, and this concept is subtly woven through the 13 tracks of his upcoming album, titled “Vanity,” which releases on June 27th.

In my perspective, “Vanity” marks Isabella’s second comprehensive album in three years, building upon the gritty neo-perreo foundation of her debut, “Amor Hardcore.” Yet, unlike its predecessor that thrived in the dimness of underground dens and humid alleyways, this one sparkles, born from a palette of mid-2000s dance floor anthems and John Waters’ vibrant cinematic landscapes. The rhythmic backbone switches from relentless four-on-the-floor 808 beats to thunderous tresillo rhythms, and on tracks like “Bling,” Isabella tantalizingly asks: What if the Latina version of Lady Gaga during her ‘The Fame’ era existed? It’s a captivating fusion of electroclash and reggaeton, a transcendent genre mix that seems to be broadcasted from a dystopian tomorrow.

She analogized it as if it were a candy that’s harmful, but her fascination lies in the juxtaposition and tension, ensuring that she remains multifaceted, desiring that very contrast at all times.

In simpler terms, the title track and other songs by Isabella have a vividly descriptive quality, particularly focusing on her own face. On the title track, she compares herself to a perfume bottle and foam object, also describing it as an uncontrollable fantasy. Songs like “Perfecta” and “Gorgeous” discuss being perfect like a mannequin and elegant like a moving emerald, respectively. The lyrics seem to have been pulled straight from a dream journal, drawing on emotional memories of love and attraction.

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From various perspectives, Isabella Lovestory (originally Isabella Rodríguez Rivera) stands independently as a successful pop artist. Born in Tegucigalpa, Honduras, she later moved to the U.S. during her teenage years, attending high school in Virginia and eventually residing in Montreal at 17. This diverse background lends a global flair to her music, evident in songs such as “Eurotrash,” which she performs in English, Spanish, and French.

With my background in hands-on artistic education, I’ve infused a raw, punk spirit into my work. As I put it myself, I’m “as tenacious as they come.

When I enquired about Rivera’s duties at her camp, she chuckled and replied, “I handle everything.” This encompasses all aspects related to her artistic visuals, such as creating the artwork for her albums and editing her music videos.

In this lies an intriguing duality: the concept of a self-perpetuating pop celebrity who navigates between independent creativity and public display dominated by visual presentation. She often compares this to performance art, suggesting that it involves portraying a persona different from one’s real self.

Rivera expressed that Isabella Lovestory seems to be a deeply intricate character, but he believes she’s actually a reflection of his inner self. In other words, it feels like he’s using her as a sort of screen or projection, and everything we see in Isabella Lovestory is just a hologram of the emotions and thoughts within his heart.

This interview has been edited for length and clarity.

In your albums, the storytelling is quite immersive. How do you think “Vanity” is broadening the cinematic universe of Isabella Lovestory in a unique way?

On this album, I’m revealing a more sensitive and delicate side that I haven’t shared before. Previously, with the record “Amor Hardcore,” I was delving into reggaeton sounds and exploring what I could achieve with that style. It had a more traditional feel, like a rebellious, edgy teenager. And in this one, I’m still that edgy persona. [Laughs] However, I believe I’m exposing my softer, dreamier, and more vulnerable self. This album provides a deeper introspection, almost like gazing into a mirror.

Is this the main point or argument you’re making for future reference? It’s reminiscent of “Alice in Wonderland” in a sense. You descend into a rabbit hole, enter a mirror, and there seems to be no escape. It’s trippy, with various layers and sounds, but they all form part of one continuous journey.

Are you implying that vanity is like an endless abyss? Indeed, it seems to be more of a vicious cycle, yet one with its own peculiar charm. Human flaws, including vanity, are elements we encounter in our earthly existence. I’m essentially poking fun at it, allowing it to control me, but simultaneously maintaining control myself.

Becoming a pop star is quite unfamiliar territory for me, you understand? Now, I find myself in the public eye and my face has become both a resource and a source of income, which still seems surreal. It’s about navigating these aspects: the shadowy nature of fame and the overabundance of visual content that we must continually engage with – the world of images can be quite overwhelming.

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What were your inspirations for the “Vanity” project? I was listening to a mix of music, thinking about Fellini, John Waters, and old Hollywood films. I’m fascinated by absurdist humor and the absurdities in gluttony and beauty, using them to mock societal stereotypes. My work reflects this approach. I’m particularly drawn to twisted fairy tales, such as “Donkey Skin,” which is dark yet vibrant and childlike in appearance.

In “Fresa Metal,” the music evoked a fairy tale-like atmosphere for me. It begins with a stormy soundscape reminiscent of thunder, followed by a synthesizer that seems straight out of a Dracula story. This gives off an impression of a damsel-in-distress narrative being established. In my interpretation, the song was inspired by a dream about a record label building where a pop star worked, but the building hid an underground lair inhabited by vampires who eventually kidnapped and forced her to work beneath the ground.

I don’t excel at logic or math, instead, I tend to think visually. My aspiration is to become a director, and when I discovered music, it was thrilling because it allowed me to create my album art, produce my own videos, design costumes – the whole creative package. In the long run, I aim to produce a film, compose the soundtrack for it, and even act in it myself.

As a fan, I’ve always admired your boldness and unique sound. When I listened to “Vanity”, it felt like you were venturing into uncharted musical landscapes, but in a way that also built upon the foundations laid on “Amor Hardcore”. It was a delicate balance of fear and excitement for me, as I worried about your softer side not resonating with fans who crave aggression. However, it pushed you to explore deeper emotions, which I adore because it adds another layer of depth to your work. Just like the vibrant colors and thrilling roller coaster rides in K-pop, your music always leaves me feeling exhilarated.

One intriguing aspect of your projects I’ve noticed is they all include an introduction track. Can you explain why this element holds significance for you? It seems to serve as a nod to the tradition in classic reggaeton, acting as a canvas for experimentation where you can create something unique and independent from other tracks. This intro gives the album that extra touch of flavor.

Listening to vintage reggaeton albums brings me back to when this music was fresh and exciting. In the early 2000s particularly, it felt like they were having a blast because it was an entirely new genre at that time. There was an authentic energy of enjoyment and exploration in their work, as they weren’t bound by established rules or guidelines for creation.

It’s evident that “Vanity Intro” has a distinctive sound, starting off with a classic pop arrangement and then introducing a reggaeton beat towards its latter part, creating an intriguing juxtaposition.
In essence, the introduction of sounds like a perfume bottle spraying or a car screeching offers listeners an opportunity to imagine their own mini-movie or dreamscape of what’s unfolding. This is a crucial element in all my songs, as I want everyone to have a unique mental picture associated with each piece.

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In “Eurotrash,” you employ various voices and singing techniques. What’s your method behind your vocal performances? For this track specifically, there’s a captivating whisper and an over-the-top, coquettish breathiness. Similarly, I appreciate the old-school reggaeton style where duets often featured a grittier, masculine voice alongside a higher-pitched one. I enjoy crafting unique characters within a song, and I find contrast in every aspect to be particularly appealing.

Do your unique blends of pop and Latin music set you apart from others in the industry? Or do you find yourself being replicated or followed by other artists?

As a Honduran immigrant, I often feel overlooked and underrepresented. There seem to be few Hondurans making strides because of the corrupt government in our homeland, which causes immense suffering for its people, and unfortunately, this suffering extends to the arts. Despite having an abundance of talent and unique beauty in Honduras, represented through music and art, it’s heartbreaking that I haven’t found a place where I could connect with like-minded individuals who support one another.

I built my own online community, connecting with people often considered outsiders or part of the underworld. It’s a bit of a double-edged sword, but it’s an integral part of who I am, and I can’t imagine ever straying from that path – undeniably an eccentric individual, for sure.

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2025-06-27 22:31

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