—by featuring 90s avant-garde 
singer Björk on “Berghain”—and 
flawlessly flexes her status as 
a global superstar. “Berghain” 
was the first track to be released 
to the public, and at first listen I 
was a bit scared by the ominous 
chanting and singing, but the 
classical through-line deterred 
any thought I had about this 
being a low-quality experiential 
phase in Rosalia’s career. The 
song is a testament to Rosalia’s 
classical training and talent for 
music production.
I have played this album while 
traveling and softly drifted into 
sleep, yet I have also listened to 
some of the more upbeat songs 
like Berghain, Reliquia, and 
La Perla as I do errands. It is a 
flexible list of songs that doesn’t 
make me feel like I need to be 
in the perfect moment to en­
joy it. Rosalia seems to be the 
natural candidate to promote a 
mesh of vastly different genres 
given her diverse past; her proj­
ects have consistently shown 
a commitment to growth and 
exploring new concepts. She 
might have surprised the world 
by showing a new side for a 
whole album, but the quality of 
work hasn’t changed; just shape 
shifted.
15

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