Delirio translates to "delirium" or "frenzy." It's a strong, evocative word that suggests a state of intense mental excitement, confusion, or even madness.
In "Nuevo Mundo," Fito Páez uses delirio to describe the chaotic and destructive state of the world, singing about "la lava del volcán del odio de nuestro delirio" (the lava from the volcano of hatred from our delirium). This powerful imagery paints a picture of a world consumed by its own irrationality and destructive impulses, making it a memorable and thought-provoking word.
"Nuevo Mundo" pictures the apocalypse as a fireworks show over Buenos Aires. Páez opens the song with "Un hongo en el cielo se formó y explotaron las estrellas" [a mushroom cloud formed in the sky and the stars exploded], then piles on stranger images of what's left after: hydrogen birds imploding, malls overrun, kids raised on screens while "Las bandas en rosario se recargan a tiros" [the gangs in Rosario reload with gunfire] — a direct nod to his own hometown's street violence. It plays more like satire than prophecy, a songwriter poking at a generation raised on binary code and doomscrolling.
Then the chorus turns tender. After all that destruction, all he wants is for one thing to survive: "Es posible que mis besos sean en el nuevo mundo, besos de un amor profundo" [maybe my kisses will exist in the new world, kisses of a deep love]. The end-of-everything setting is the excuse — the love song underneath it is the actual point.