On the surface, Lux might appear closer to a challenging scholarly examination than a new popular music project from a musician who just had a previous single featured a global K-pop star. Broken across 4 distinct sections and voiced in thirteen languages, we have a head-spinning symphonic opus that delves into feminine mystique, spiritual transcendence, and physical transformation, frequently via the lens of various women saints. The end of a romance—a theme handled with raw openness elsewhere—is launched upwards on this record, supported by the constant sound of a full orchestra and contributions from an award-winning songwriter among a long list of collaborators. Its sheer daring alone makes the efforts of contemporary pop stars look rather small.
Transcending Scholarly Exercise
The fact that this album succeeds in transcend dry academic posturing is nearly a miracle, and sole praise belonging to Rosalía. While this is not the first time album to blend historical sounds with the present, its stakes are much greater here, and the tightrope walk more precarious. What really elevates this fourth album, outside of its complex melodies, rich compositions, and engrained drama, is a core sense of joy. Similar to the legendary Björk during her height, there is a captivating quality to Rosalía's singing which sweeps the listener up in its whirlwind. When she is breaking your heart apart, you nevertheless want to stay right there for the ride.
A Signature Moment of Exuberance
That playful spirit comes forth clearly on the stirring Italian ballad inspired by Saint Clare. It luxuriates in a string-drenched whirlpool for more than four minutes. Suddenly, all the music falls silent, to reveal there's a gleeful laugh and a declaration prior to a comically over-the-top string crescendo crashes down like comedic impact. The track immediately segues into the wild single featuring racing orchestration, a powerful choir, and a cameo role from the artist Björk.
"The charm of this album lies in you rarely quite know—or even wish to predict—where you is going to next."
Nearly every track ends at a completely different point than how it started. One moment explores the fleeting trappings of celebrity over a delicate symphony before disintegrating into digital cacophony. Another, a cut that recalls the artist's earlier rhythmic work begins out moody and sinister, with prowling beats, before fluttering flamenco handclaps and an angelic chorus arrive to soften its jagged edges.
The Bridge Between Experiment & Accessibility
A key achievement of the album is navigating the gap between bold experimentation and broad appeal. It is no coincidence that it has become the artist's first work to crack the upper reaches of key markets: its heart contains a collection of truly undeniable hits. A song sung entirely in English builds around a refrain that feels to gather increasingly infectious melodies while it spins skyward. That feat gets echoed on another expansive ballad that grows and constricts, weaving layered melodies as a complex tapestry.
- A dance-infused song seduces via its playful, Disney-adjacent flair and an anthemic chorus.
- In its words, it aligns the pop culture honesty of contemporary breakup songs, eviscerating an ex- lover described as an "emotional bully".
- Across the album, the singing have a sharp smile, like a storybook figure concealing a knife: "Gold medal in acting like a motherfucker / You have won the trophy of letdown."
An Opulent Banquet for the Ears
This album is popular music on a grand level, an ambitious grasp for capital-A artistry in an era of impending AI-generated sameness. It eschews self-absorption in favor of glorious transcendence, creating a dramatic spectacle that masterfully manages its built-in ridiculousness. This is an abundant source of hidden treasure that requires time to completely explore but never seem like hard work. Where other big pop albums of the year seemed like feasting on scraps, Lux offers a lavish banquet where the guests around it, perhaps tipsy on sacred drink, flutter from discussions about historical saints, the galvanizing feeling of soul-shattering grief, and common stories about useless men. It is a contemporary theatrical production from pop's truly restlessly inventive practitioner.
