{"id":22108,"date":"2025-10-27T20:12:35","date_gmt":"2025-10-27T19:12:35","guid":{"rendered":"https:\/\/www.loffmusic.com\/what-the-press-and-critics-say-about-rosalias-new-song-berghain\/"},"modified":"2025-10-28T20:03:13","modified_gmt":"2025-10-28T19:03:13","slug":"what-the-press-and-critics-say-about-rosalias-new-song-berghain","status":"publish","type":"post","link":"https:\/\/www.loffmusic.com\/en\/what-the-press-and-critics-say-about-rosalias-new-song-berghain\/","title":{"rendered":"What the press and critics say about ROSALIA’s new song “Berghain”."},"content":{"rendered":"\n

When Rosal\u00eda burst onto the scene this Monday with “Berghain”, the first preview of her upcoming album Lux (November 7, 2025), she did so loaded with ambition, contradiction and mystery. The first impressions of the press and critics oscillate between enthusiasm for her boldness and caution before a creative leap that may not connect with all audiences. Here is a summary of what is being said – and what is being sensed – behind this new era. <\/p>\n\n

\u2705 What they applaud<\/h3>\n\n

Sonorous ingenuity and rupture of expectations<\/strong>One of the most repeated notes is that Rosal\u00eda has decided to leave the “pop-urban” script to enter more experimental territories. As El Confidencial<\/g> notes, “that fusion of worlds seems to resonate … that unites the solemnity of symphonic music with the intensity of experimental electronics”. Similarly, El Espa\u00f1ol<\/em> states that the single “promises to be the radical opposite of Motomami<\/em>“. <\/p>\n\n

Collaborations that elevate the project<\/strong>The participation of Bj\u00f6rk and Yves Tumor (along with orchestral arrangements, strings, vocals in German, English and Spanish) is highlighted as a sign of Rosal\u00eda’s ambition. Los40<\/em> calls it “a before and after in her career” when presenting this tripartite piece.<\/p>\n\n

A powerful audiovisual narrative<\/strong>The video clip -directed by Nicol\u00e1s M\u00e9ndez for the production company CANADA- is described as “a visual liturgy” that mixes the domestic (ironing, making the bed), the symbolic (animals, orchestra, religious iconography) and the surreal. El Pa\u00eds<\/em> notes that “Rosal\u00eda then starts ironing while she sings in the midst of the maelstrom” of an orchestra that follows her through her day-to-day life.<\/p>\n\n

Authenticity and creative risk: <\/strong>Many critics appreciate the fact that Rosal\u00eda leaves her safe zone and experiments with unconventional registers for commercial pop. For example, Pitchfork notes that “Berghain” is “all show” and that she has never before deployed her classic line-up to such an extent. <\/p>\n\n

Sound and conceptual ambition:<\/strong> The union of symphonic orchestra, multilingualism and collision of styles is seen as a qualitative leap. Rolling Stone Philippines notes that the track “marks a new peak” in its sonic vision, blending orchestral drama and avant-garde pop. <\/p>\n\n

<\/p>\n\n

\u274c Reservations and criticisms<\/h3>\n\n

It is not an instant hit for all ears<\/strong>One of the most shared nuances is that of accessibility. Diario Cr\u00edtico<\/em> summarizes: “The song is of a high level, overloaded and baroque in a good way, but it is hard to believe that it is going to be a hit… whoever was looking for a ‘Motomami 2’ will be disappointed”. And Jenesaispop<\/em> goes to the point: “The song has no head or tail, what a mess of arrangements”. <\/p>\n\n

The title generates expectations that are not entirely fulfilled<\/strong>The use of the name “Berghain” – Berlin’s iconic techno club – suggests a universe of club music or pure techno. However, several media underline that the track has hardly any “traces of techno” and is more oriented towards the orchestral and experimental. El Pa\u00eds<\/em> comments: “However, at least this opening track, it does not have as many traces of techno as one might expect”. <\/p>\n\n

The risk of ambition: too dense for the general public?<\/strong>When an artist makes such a stylistic leap, there is always the danger that part of his audience will be left out. Huffington Post<\/em> gathers a very clear reaction: the reactions in networks were “mixed”. In other words: admirable for those who love layering, less comfortable for those looking for a straightforward, catchy chorus. <\/p>\n\n

Away from the “easy”:<\/strong> Some commentators warn that the song may be difficult to assimilate for the general public or for listeners who were expecting something more direct. The turn towards the baroque, the orchestral, the symbolic, could alienate fans more accustomed to the Rosal\u00eda of urban hits. <\/p>\n\n

Disconcert and polarization: <\/strong>Right from the start, the reaction in networks is varied, with surprise and even bewilderment, which implies that the topic is not only designed for immediate consumption, but also to generate reflection or divisions, which may work against it in terms of mass dissemination.<\/p>\n\n

Risk of over-performance or gimmickry: When the staging is so elaborate, there is a risk that the staging will be valued more than the song itself, or that it will be perceived as too “elevated” for what is expected of contemporary pop.<\/p>\n\n

\ud83c\udfaf Why does this release matter?<\/h3>\n\n

“Berghain” marks (or at least announces) a new chapter for Rosal\u00eda. Not so much a simple single for the charts, but an act of presentation of an album that is intuited as a major artistic project. That’s why critics not only value the song itself, but what she represents: an artist who reinvents herself, who puts her legacy and identity on the line, and who is not afraid to divide. <\/p>\n\n

For LoffMusic readers, this moment is not just about a song but about a gesture: do you accept the challenge of accompanying Rosal\u00eda on this new odyssey or do you prefer the Rosal\u00eda you already knew? What is clear is that “Berghain” is not comfortable, and perhaps that is its greatest virtue. <\/p>\n\n

\n