Spanish pop auteur ROSALÍA has spent her profession dismantling the boundaries between flamenco custom and experimental pop, however “Berghain” is likely to be her most audacious assertion but.
The lead single from her fourth studio album LUX options Icelandic legend Björk and avant-garde artist Yves Tumor on a tri-lingual, orchestrally charged meditation on love, loss, and mortality. It’s three acts of watching your coronary heart break unfold.
If Motomami fractured pop, LUX consecrates it. The place that album rewired reggaeton and digital chaos right into a self-portrait of management, Berghain restores formality by way of religion and theatre.
It’s Rosalía reclaiming the sort of grandeur pop not often dares anymore; treating emotion not as a product however as ritual.
Orchestral Obsession
The monitor opens with German lyrics sung over piano and swelling strings. Manufacturing comes from Noah Goldstein, Jake Miller, and Sir Dylan, layering baroque instrumentation with moments of stark intimacy.
Image carrying a full symphony round while simply attempting to get by way of your day. That’s the sensation right here.
ROSALÍA’s verses shift between German and Spanish, her voice shifting from fragile whisper to full-throated declaration.
When she sings “Solo soy un terrón de azúcar / Sé que me funde el calor” (I’m only a sugar dice / I do know the warmth melts me), there’s no intelligent wordplay. Simply the uncooked acknowledgment of your individual dissolution, easy and devastating.
It’s additionally the place the Rosalia Berghain lyrics which means turns into clearest: heartbreak reframed as sacred ceremony.
Björk’s contribution arrives like a visitation. Her refrain, delivered in German, transforms the chorus “Seine Angst ist meine Angst / Seine Wut ist meine Wut” (His concern is my concern / His anger is my anger) into one thing each devotional and harmful.
She described her involvement on Instagram as watching ROSALÍA “develop” and praised the album’s genre-switching strategy as “fierce.” That phrase captures the managed chaos of “Berghain” completely.
Then Yves Tumor’s outro crashes in with English lyrics that shift the track’s register solely: “I’ll fuck you until you’re keen on me” repeated like a mantra, like a menace, like a prayer.
It’s uncomfortable and confrontational. Non secular longing collides with bodily desperation in a method that makes you squirm, however that discomfort feels solely crucial.
The orchestral elements had been organized and performed by Daníel Bjarnason and recorded with the London Symphony Orchestra at Abbey Street Studio 2, including a bodily weight that contrasts the digital intimacy of her earlier work.
Mixing engineer Manny Marroquin reportedly saved Rosalía’s vocals virtually dry in sections to protect that feeling of publicity.
A Jewelled Coronary heart Failing
Lyrically, Berghain behaves like a requiem; every verse a confession, every refrain a type of penance.
The track performs out like a medical tragedy wearing spiritual imagery. ROSALÍA positions herself as a affected person with a failing coronary heart (described as “la joya”, the jewel), visiting docs (jewellers) who provide no hope.
That orchestral association shadowing her all through? It’s the intrusive ideas, the mounting dread, the soundtrack to your individual decline.
Fan discussions and evaluation level to the Snow White imagery as deliberate. ROSALÍA wanders by way of the forest of her despair, misplaced and ready for one thing.
Rescue, demise, transformation, no matter comes first. The sugar dice works on a number of ranges: sweetness that dissolves beneath stress, a life consumed too rapidly, pleasure collapsing within the face of ache.
Björk’s “divine intervention” chorus reads much less like optimism and extra like resignation. When human options fail, what’s left? Await grace, or as Yves Tumor’s part suggests, demand it by way of sheer pressure of will and repetition.
The track’s ultimate bars mirror a coronary heart’s final beats. The orchestra slows, the voice fades, and in ROSALÍA’s telling, her soul rises “like a dove.”
It’s a Catholic ending to a really Catholic piece of artwork, treating struggling as one thing value witnessing in full.
The Visuals: Theatre, Loss of life, and Ascension
The music video for “Berghain” extends the track’s operatic imaginative and prescient into full cinematic spectacle. Filmed in Poland, and directed by Nicolas Méndez, the visible narrative follows ROSALÍA by way of a collection of tableaux that blur the road between fairy story and non secular procession.
The orchestra that haunts the track materialises within the video as a full ensemble that follows ROSALÍA by way of totally different on a regular basis scenes.
It’s Snow White meets funeral procession, and the theatricality of all of it someway makes the despair really feel extra acute reasonably than ridiculous.
What makes the video work is its dedication to the bit. There’s no realizing wink, no second the place the artifice breaks.
Whether or not you discover it shifting or extreme most likely depends upon how a lot you’re prepared to fulfill her at that degree of depth.
Sacred Meets Profane
The accompanying imagery and teasers ROSALÍA shared on her Substack confirmed sheet music for piano and voice with the title “BERGHAIN” in capitals.
An early trace on the track’s classical ambitions. The aesthetic all through the LUX marketing campaign has leaned closely into Christian iconography, not as conservative assertion however as elevation. ROSALÍA treats pop music prefer it deserves stained glass home windows.
In doing so, she joins a lineage of avant-pop architects, from Björk’s Homogenic to FKA twigs’ MAGDALENE, who blur the strains between worship and want.
But Rosalía’s interpretation feels uniquely Iberian, steeped in Catholic imagery the place magnificence and struggling are inseparable.
Berghain can be the title of Berlin’s most infamous techno membership, recognized for its hedonistic ambiance and brutal door coverage.
The juxtaposition feels solely intentional. ROSALÍA has all the time understood that worship and want aren’t as separate as we fake.
What Individuals Are Saying
Since its launch, “Berghain” has sparked intense dialogue throughout music boards and response movies.
Listeners on Reddit’s popheads neighborhood have praised the track’s theatrical ambition while debating its accessibility. This isn’t one thing you half-listen to while doing the washing up.
Critics have famous the track’s place inside ROSALÍA’s evolution from the flamenco-fusion of El Mal Querer by way of the experimental pop of Motomami to LUX‘s extra explicitly art-music aspirations.
The place earlier work felt like style workouts (what occurs while you apply reggaeton to heartbreak?), “Berghain” abandons style altogether.
The collaboration feels important too. Björk and Yves Tumor aren’t simply featured artists; they’re co-conspirators.
Every brings their very own relationship to blurred boundaries. Björk between human and pure world, Yves Tumor between masculine and female, rock and R&B. Along with ROSALÍA, they’ve created one thing genuinely unusual.
Critics have drawn parallels between Berghain and the grandiosity of Kate Bush’s Hounds of Love, noting how Rosalía harnesses orchestral type not as nostalgia however riot.
On social media, followers have dubbed it “opera-pop for the algorithm age,” admiring the way it rejects on the spot gratification.
Why It Works (Or Doesn’t)
“Berghain” gained’t be everybody’s concept of a great time. Too gradual for the membership that shares its title, too dramatic for informal listening, too bizarre for radio.
However that’s exactly what makes it exceptional. ROSALÍA has reached a degree the place she will pack an orchestra right into a metaphorical truck, sing in three languages, solid Björk as a divine messenger, and let Yves Tumor shut with profane repetition. One way or the other all of it coheres.
The track succeeds as a result of it takes its personal feelings severely. No winking irony, no hedging bets. In case you’re going to make a track about dying from heartbreak, why not go full opera?
That dedication to extremity separates ROSALÍA from her friends. Whether or not “Berghain” is a masterpiece or an interesting mess most likely depends upon your tolerance for theatrical extra, however there’s one thing admirable about an artist treating a damaged coronary heart like the top of the world.
As a result of typically it’s.
“Berghain” is accessible now on all streaming platforms. LUX (Versión Física) is out 7 November 2025 through Columbia Information.
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