The soft guitar strums that open “La Perla” offer a contrast to the unapologetic lyrics that open the Lux standout. “Hello, peace stealer,” Rosalía sings, almost coyly, pointing to her target from the first line. The string orchestra builds as Rosalía sings to a former lover — “a playboy,” “a narcissist,” “an enchanter” — who “spends money he has and doesn’t have,” and takes first place on the “podium of disillusion,” who’s earned a “monument to dishonesty.” “The local disappointment, a

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