Rosalía began performing in tablaos a decade before the release of her recording debut, gradually becoming a well-known vocalist within Barcelona's flamenco circuit.

[4] She discovered flamenco at thirteen when her friends played Camarón de la Isla while meeting in a park after school, soon becoming fascinated with the genre and studying it on her own.

[5] As she immersed herself in the Catalan flamenco scene, Rosalía met local fixture José Miguel Vizcaya "El Chiqui de la Línea", who suggested she started a degree in music.

[11] It is a presentation of Rosalía as a soloist cantaora and as such its structure is similar to that of the debut of any orthodox flamenco singer: "a selection of varied palos, often with traditional or popular lyrics, in which the artist shows his or her aptitude and background.

"[12] In this manner, the singer encompasses several forms of the genre, including alegrías, tangos, fandangos, fandanguillos, seguidillas, tarantas, malagueñas and "more specific" styles like guajira, saeta and milonga.

Rosalía told Ecleen Luzmila Caraballo of Jezebel in 2018: "I feel like with Los Ángeles, I wanted to establish my musical legacy... and honor the classic sound of flamenco in the most traditional sense, respecting them to the maximum, with a pop and experimental structure, but with very basic instrumentation and a minimalist sound—just guitar and voice.

[20] Spanish filmmaking collective Manson directed the music video for the second single "De plata", which features the singer performing the track as she walks and dances in the streets of Los Angeles, California.

[22] Luis Troquel of Rockdelux felt that the clip showed a "facet of Rosalía that was unknown to many", as she dances "with a glowing enchantment and exuberant style.

"[21] A cover version of Enrique Morente's "Aunque es de noche", which was not included in the album and had only been performed live, was released as a single on 2 November 2017 on streaming platforms.

[26] Filmed as a long take, the video's first two minutes show the inside of a car filled with elements of Christian symbolism, leading the viewer to Rosalía sitting on a chair.

[29] Spanish magazine Rockdelux called it "one of the most intense and sweeping debuts of recent times", with critic Juan Monge complimenting its mix of tradition and avant-garde.

"[29] Writing for MondoSonoro, Yeray S. Iborra felt that with Los Ángeles, Rosalía "is posited as the contemporary cantaora who has better understood the current times", noting the difference between the album and her "more American" collaboration with C.

[32] In an El Confidencial article, musician and investigator Pedro Lópeh criticized the album, particularly Refree's arrangements, deeming them "artificial" and "wearisome".

[35] The album also appeared at number 6 in the year-end list of Spanish online magazine Jenesaispop, which described it as "an unbeatable presentation, up to the expectations, which are even higher in the face of a bright future.

"[48] Los Ángeles reached its peak position of number nine on 11 November 2018 and remained in the albums chart until 9 February 2020, accumulating a total of 116 weeks.