MAFFIO’s R.D.L.D. isn’t just an album, it’s a bold recalibration of identity. After the deeply rooted TumbaGobierno, the Dominican producer set his sights on something bigger: a sound that could live in any club, from Santo Domingo to London to Paris. Years ago, he hinted that this would be his third record, but its execution demanded patience and vision. What emerges is not a departure, but an evolution: a project where risk and reinvention feel less like gambles and more like destiny.

At the core of this shift is the concept of the “Transcultural King.” For MAFFIO, the crown isn’t personal, it belongs to music itself, the one true ruler capable of bridging cultures. Rey De La Discoteca embodies that philosophy, fusing Dominican percussion with the pulse of European electronica, and weaving collaborations across continents into a seamless, flavorful blend. Like a sancocho, the album stirs diverse ingredients into one stew, each influence distinct yet inextricable from the whole. It’s an offering meant to move bodies, connect worlds, and reflect the artist’s full creative spectrum.

The result is a work of cohesion and longevity. Every beat and transition is deliberate, each track part of a larger narrative arc that demands to be experienced start to finish. Songs like “London” and “Guasabi” reveal the album’s personal heart, while the extended intro signals MAFFIO’s intent: this isn’t background music for a playlist, but a journey meant to envelop and surprise. R.D.L.D. is both a reinvention and a culmination, a statement of artistic fearlessness that looks less at fleeting trends and more at lasting impact, an album built to resonate long after the night ends.

What sparked the shift to the global club sound of R.D.L.D.?‍

Coming off TumbaGobierno — which was my debut album and a very culturally rooted project — I knew I wanted to evolve. Back in 2020, I already hinted that R.D.L.D. would be my third album, and it was important to me to level up creatively. This shift felt like the natural next step in my artistic journey.

How do you define “Transcultural King,” and why claim that title now?

For me, “Transcultural King” isn’t about ego. It’s not about me personally being the king,  it’s about music itself. I see music as the king or queen of the world. It’s what unites us across cultures. That’s the energy behind Rey De La Discoteca.

What was the biggest risk you feel like you took on this album?

The biggest risk was doing something that people didn’t expect from me, and honestly, that’s what excites me the most. As long as I’m creating something that feels true to who I am and brings me joy, that’s what matters. Of course, it’s always a risk to break expectations, but that’s part of the artistic process.

How did you balance European electronic influences with your Dominican roots?

It was all about fusion. I like to think of it like making a sancocho, a Dominican stew where you throw in chicken, pork, beef, root vegetables, and spices. That’s how I approached this album. I took everything that has influenced me — from my Dominican upbringing to the electronic sounds I absorbed in Europe — and brought it all together into one flavorful blend.

What part of your past musical identity did you have to shed to make RDLD?

I didn’t necessarily shed anything, I think it was more about connecting all my influences and experiences. This album represents every part of me: different genres, different cultures, all coming together. I see it as a masterpiece: the best work I’ve done in my career and the most meaningful contribution I’ve made to culture. Traveling to London, Paris, and Amsterdam, collaborating with artists from Africa, and beyond… It gave the album a global pulse that I believe will resonate with people everywhere.

Which track on RDLD feels most personal to you, and why?

“London” is one of the tracks that really captures the spirit of Rey De La Discoteca. It takes you on a journey — like a trance or a rollercoaster — with highs and lows, unexpected turns, and moments that completely shift the energy. “Guasabi” is another one that feels close to me. Honestly, every track on the album is like one of my babies, each representing a part of the story I wanted to tell.

How do you want people to physically experience this album—in clubs, headphones, or somewhere unexpected?

I want people to experience this album from beginning to end, starting with the intro. Most intros are 30 seconds, but I made mine five minutes long because it sets the tone for the entire journey. It’s where the rollercoaster begins. I truly believe you have to listen to the whole thing top to bottom to fully understand the experience.

What’s one production detail you hope listeners don’t overlook?

The production is everything. My goal was to create a full journey, not just a collection of songs. Every track connects to the next. Every beat, transition, and texture is intentional and part of the bigger picture. It’s about cohesion, storytelling, and crafting an album that moves people, not just fills a playlist.

How do you see RDLD fitting into the future of Latin music, if at all?

With any piece of work — a single, an album — you need to give it time. Let’s talk again in ten years. Music is changing fast, and sometimes the sheer volume of content being released dilutes the quality. But I believe R.D.L.D. will stand the test of time because it’s built on intention, not trends. Its impact may not be immediate, but longevity will prove its value.

What does global success mean to you now, compared to earlier in your career?

Success is such a subjective thing. For me, it’s not about the numbers. It’s about impact: how your work touches people, especially other creatives. If my music inspires another artist, songwriter, or producer, that’s the real success. That’s what inspires me too, hearing music that moves me and makes me want to create. That’s the cycle of real, lasting success.

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