If you picked up the Spanish newspaper El País today, you might have come across a full-page ad reading “Fucking Money Man” in bold-print capitals against a dollar-green backdrop—in the business pages, no less. It was an ad for Rosalía’s two-tracker of the same name, which dropped today, and as press campaigns go, it was pretty audacious—just imagine one of America’s biggest pop stars trying something like that in the New York Times or the Wall Street Journal. But Rosalía is no stranger to pushing buttons, and her two new songs are no exception.

Where her J Balvin collab “Con Altura” prioritized urbano’s dembow groove and “Aute Cuture” flirted with R&B, “Milionària” and “Dio$ No$ Libre del Dinero” return the Spanish singer to her sui generis brand of postmodern flamenco, and the two songs function as an inextricable pair—A-side and B-side, yin and yang, tycoon and Bolshevik. On “Milionària,” she sings a paean to extreme wealth over an almost uncomfortably major-key beat, reeling off references to Bentleys and Hublots. She sings in Catalan—this is the first song she’s written in the language—and there’s a distinctly ironic tone running through her boasts of private tours of the Louvre and pet leopards in her garden.

The disgust comes to the fore in “Dio$ No$ Libre del Dinero,” a melancholy trap-flamenco miniature whose title translates as “God Free Us From Money.” “Millions burning,” she sings, over unadorned synth chords; “We’re going to burn them/Mountains of fire/Bills crying.” She sings of kings, presidents, and poison, and in the chorus, she stumbles over her words, breathlessly piling up the avarice: counting, having, dreaming, wanting. In just the past year, Rosalía has enjoyed nearly unimaginable success, and some of her output—like the high-flying “Con Altura” video—has happily played along with the expectations of fame. But with this sneaky pair of singles, the young woman from a truck drivers’ suburb of Barcelona sounds a note of caution.