In 2001, the Mexican singer Paquita la del Barrio (may she rest in peace) published ‘Two-legged Rat’, the most ruthless song of spite in history. Its spirit runs through ‘La Perla’ by Rosalía, especially its humorous intention.
Over a waltz rhythm, Rosalía describes a “playboy” who is a “minefield for (her) sensitivity” and who has the “Olympic gold medal for the biggest bastard.” In this cut from ‘LUX’, Rosalía makes a suit for a former spendthrift who believes he is the center of the world, who lies to his therapist, who is an “emotional terrorist” and who collects “bras”… from his fans? It seems that Rosalía is no longer looking for that pearl at the bottom of the sea, but is avoiding it.
The humor of ‘La Perla’, a collaboration with the American regional Mexican group Yahritza y Su Esencia, whose vocalist has a timbre similar to that of Vila Tobella, so much so that their voices become slightly confused when they harmonize; It reaches its climax in the recited bridge of the song, in which Rosalía portrays an ego-ridden uncle, full of irony.
But this humor is not limited to the lyrics, it also filters into the musical arrangement, which, especially in the entry of the winds, refers to the carnival big bands of the 30s and 40s. The coincidence between the word “doppelgänger” – a word as unusual as it is unexpected – and the orchestral climax of the song builds a wonderfully absurd and comic moment.
‘La Perla’ is not the most representative song of ‘LUX’, as it begins with some acoustic guitar chords, although little by little the orchestra takes over. But, chosen as the “focus track” on the day the album was released, and placed in first position on Today’s Top Hits, it is undoubtedly one of his most immediate and accessible compositions.
