When Aníbal Gómez asked me to take charge of the series’ score, he had two very clear elements in mind to combine: orchestral passages and electronic music with arpeggios, rooted in the horror and sci-fi tradition of the 1980s. My response was immediate: few blends fit the spirit of Rafaela y su loco mundo better.

If there is one word that runs through the series, it is nostalgia — for the films and shows we grew up with, which still fascinate younger generations today, drawn to the analogue and everything that feels vintage without becoming outdated. Rafaela embraces this imaginary world of mystery, fantasy, and science fiction, and updates it with absurd humor, irony, and a very contemporary energy.

In the darker, more mysterious passages, the influence of Kyle Dixon and Michael Stein was key, due to their ability to create unsettling atmospheres through emotional electronics. Overall, the music dialogues with adventure and genre cinema references from the 70s and 80s, but in a contemporary language.

The series also includes two diegetic songs: Piel Doré and The Yayas and The Yayas, which together with the theme song and credits music, required specific work from pre-production for their use in playback during filming. In Piel Doré, the script already provided an initial lyric and a very clear description of the band and its aesthetic, which led to a direct, kitsch, Eurovision-like pop tone. In The Yayas and The Yayas, the process was especially organic: the entire cast went to the studio, and the session ended up perfectly reflecting the playful and uninhibited tone of the series.