WORTH A LOOK?: *****

Tracklist: Sexo, Violencia y Llantas; Reliquia; Divinize; Porcelana; Mio Cristo Piange Diamanti; Berghain; La Perla; Mudo Nuevo; De Madruga; Dios Es Un Stalker; La Yugular; Sauvignon Blanc; La Rumba Del Perdon; Memoria; Magnolias

Music is the original international tongue and Rosalía’s use here of 13 languages appears to be an attempt to maximise its appeal.

• Read on for reasons including how the need for repeat listening is required to appreciate the ambition, breadth of ideas and astonishing realisation of them here

It’s a brave artist that invites the largest possible audience in to this 4th album by the Barcelona-born singer-songwriter/producer recorded with the London Symphony Orchestra yet leaves inquisitive minds without immediate answers.

Framed as a 4-movement epic inspired by the often tragic and vengeful stories of female saints, martyrs, and religious figures throughout history it also can’t help but be seen through the eyes of its star’s recent break-up.

1st single Berghain (watch and listen below) features Bjork plus Yves Tumor and embraces the ethereal and spiritual while beginning in German with Tumor later insisting: ‘I’ll f*ck you ’til you love me’ which may have been inspired by Rosalía’s recent break-up with a former collaborator.

Rather than being about the titular Berlin techno club it dwells instead on the word’s literal translation – mountain grove – allowing space for contemplation while dissolving to accommodate a lover’s fear and anger.

Bjork later interjects memorably about the need for ‘divine intervention’.

Rosalía feels like a Catalan Kate Bush or Tori Amos allowed to experiment with an orchestral sound that can be lavish but also encourages the folkloric and embraces elements of more traditional flamenco and rumba to cement a Spanish sound.

La Perla (The Pearl) is where the demise of her relationship with ex-fiancé Rauw Alejandro feels fully played out to jaunty folk adorned by withering insults.

Sung entirely in Italian Mio Christo Piange Diamanti (My God Cries Diamonds) receives an enthusiastic and impressive operatic airing.

We love the kettle drums on Porcelena and Magnolias is a showstopper – as Rosalía asks friends and haters crying at her funeral to shower her with the creamy white flower that symbolises purity and femininity.

There’s so much here that is beautiful and challenging. The need for repeat listening is required to appreciate the ambition, breadth of ideas and astonishing realisation of them here.

• Main pictures via Facebook courtesy Rosalía Tickets
• Have you seen a Rosalía show before and what did you think of this album? Let us know what you thought in the comments below
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