Initially, Lux could seem more like an arduous academic examination than a new popular music record by a musician whose previous single featured a global K-pop icon. Broken into four separate sections and voiced in thirteen languages, this is a breathtaking classical-tinged opus that delves into feminine mystery, spiritual transcendence, and physical transformation, often by way of the perspective of various female saints. The end of a romance—a theme treated with raw openness elsewhere—soars upwards on this record, supported by the lush sound of a full orchestra and contributions from an award-winning composer among a long list of contributors. The pure ambition alone makes the work of contemporary pop stars seem rather laughable.
Transcending Scholarly Pretense
That this album succeeds in avoid dry academic posturing is nothing short of a miracle, and complete credit going to Rosalía. Although this is not her first album to blend historical sounds with the present, its stakes feel far greater here, and the tightrope walk far more dramatic. The element that truly raises this fourth album, outside of its complex melodies, dense arrangements, and engrained theatricality, proves to be an essential sense of fun. Much like the iconic Björk at her peak, there is a wondrous quality to Rosalía's voice that pulls you up in its whirlwind. When she is breaking your heart apart, you still desire to be right there for the ride.
A Prime Moment of Exuberance
That playful spirit comes forth clearly on a stirring Italian song inspired by Saint Clare. It bathes in a sorrowful whirlpool over several moments. Suddenly, all the music falls away, and we hear a gleeful laugh and a declaration before a hilariously over-the-top orchestral surge crashes down with comedic force. The track immediately segues to the wild track featuring galloping strings, an imposing choir, and a cameo appearance from the artist Björk.
"The charm of this album is that the listener rarely quite know—or even wish to predict—where you is going to next."
Nearly each track ends at a totally distinct point from how it began. A track examines the transient trappings of fame over a featherlight symphony before disintegrating in electronic cacophony. Elsewhere, a song that recalls her previous trap-infused style begins out dark and sinister, with menacing beats, until sudden flamenco handclaps and a heavenly chorus enter to smooth its rough corners.
The Balance Between Art and Accessibility
A key achievement on the album is navigating the gap of radical experimentation and broad appeal. This is little coincidence that it has achieved the artist's highest-charting release to crack the upper reaches of key markets: its heart contains a collection of truly catchy hits. One track performed primarily in the English language builds around a refrain that seems to gather more and more nagging hooks while it spins upward. That feat is repeated on a different powerful ballad that expands and constricts, weaving multiple tunes as a complex weave.
- A waltz-like number seduces via its jaunty, Disney-adjacent flair and an anthemic hook.
- In its words, it shares the cultural impact of contemporary breakup anthems, lambasting a former partner described as an "emotional terrorist".
- Across the album, the singing carry a painted-on edge, akin to a fairy-tale character concealing a blade: "Top prize in being a motherfucker / You've won the trophy of letdown."
A Maximalist Banquet for the Ears
Lux is pop on a grand level, a hungry grasp for high Art in an era of looming AI-generated blankness. It rejects solipsism in favor of sublime elevation, creating a dramatic spectacle that masterfully controls its own built-in excess. It is an abundant well of hidden gems that requires time to completely mine but doesn't seem like a chore. Where other major pop albums of the year seemed like feasting on meal, Lux offers a lavish feast where the guests at it, perhaps tipsy on sacred wine, flit from discussions about historical figures, the profound sensation of soul-shattering grief, and shared stories about hopeless partners. It is a modern-day musical from pop's truly restlessly creative practitioner.
