BERGHAIN: ROSALÍA’S MYSTICAL COMEBACK WITH BJÖRK AND YVES TUMOR THAT REDEFINES SPIRITUAL POP

Rosalía returns with “Berghain,” a track that fuses the divine and the profane in a hypnotic collaboration with Björk and Yves Tumor. A techno prayer that marks the beginning of LUX her most spiritual, cinematic, and daring era yet.

Rosalía is back, and she’s done it with almost liturgical force. “Berghain,” her new single featuring Björk and Yves Tumor, opens the LUX era her fourth album, out November 7and signals a radical shift in her sound. If Motomami was the laboratory of chaos, LUX is her resurrection: a journey between the spiritual, the physical, and the divine.

The title is no coincidence. Berghain takes its name from the Berlin nightclub turned modern myth, a techno sanctuary where excess blurs into freedom and darkness becomes communion. In that space of transgression, Rosalía stages her own catharsis: a woman seeking redemption amid orchestras and industrial beats. “Su miedo es mi miedo, su sangre es mi sangre,” she sings in German, before Björk enters as a celestial voice and Yves Tumor breaks the trance with a brutally earthly line: “I’ll f–k you till you love me.”

The video, directed by Nicolás Méndez and filmed in Warsaw, expands that world of contradictions. Rosalía appears as a widow surrounded by an invisible orchestra, washing bathrooms and ironing sheets before stepping into a room transformed into a forest. There, a deer and a bird symbolic representations of her collaborators sing to her. The final scene, with a white dove flying from her empty bed, becomes a metaphor for liberation and symbolic death.

Musically, “Berghain” is an emotional chamber piece. Produced with the London Symphony Orchestra under the direction of Daníel Bjarnason, it merges operatic grandeur with the intimacy of prayer. In Rosalía’s own words, LUX “traces an arc of feminine mysticism, transformation, and transcendence,” and this first act proves it: a hymn to self-dissolution, to desire as sacrifice, and the body as altar.

The project follows a period of silence and personal metamorphosis. “I’ve changed a lot, but I keep asking myself the same questions,” she told Highsnobiety. That’s why LUX divided into four movements and featuring collaborations from Carminho, Estrella Morente, and Yahritza feels like a rebirth.

Rosalía doesn’t just return to music; she returns to mystery. In Berghain, she turns the world’s most secretive club into an emotional cathedral where the sacred and the carnal pulse as one. If Motomami was body and chaos, LUX promises to be soul and ascension. And “Berghain,” her first hymn, sounds like a prayer danced beneath strobe lights.