On the surface, Lux could seem more like an arduous scholarly examination rather than the latest popular music album by a musician whose last single was a collaboration with a global K-pop icon. Divided across 4 separate sections and performed in 13 languages, this is a dizzying classical-tinged album investigating feminine mystery, religious ascent, and bodily change, often by way of the lens of various women saints. The dissolution of a love affair—a theme treated with raw honesty elsewhere—soars heavenward here, supported by the constant sound of a full symphony orchestra and input from a Pulitzer-winning songwriter among a long roll call of collaborators. The pure daring by itself renders the work of other artists appear quite laughable.
Transcending Academic Exercise
The fact that Lux succeeds in avoid dry intellectual posturing feels nearly miraculous, with full credit belonging to the artist. Although this is not her first project to alchemize historical sounds and modern styles, its ambitions feel much higher here, with the tightrope walk more precarious. What really elevates this fourth release, outside of its complex tunes, dense arrangements, and engrained drama, is an essential sense of fun. Much like the iconic artist at her peak, there is a wondrous quality to Rosalía's voice which sweeps you into its tornado. Even when she's breaking your heart apart, you nevertheless desire to stay alongside her through the ride.
A Signature Moment of Joy
This exuberant energy comes forth brightly during the stirring Italian ballad about Saint Clare. It luxuriates in a sorrowful whirlpool for more than four moments. Then, everything drops silent, and we hear a gleeful giggle followed by a declaration before a comically over-the-top string crescendo crashes down with cartoonish impact. The track then shifts into the frenetic single featuring galloping strings, an imposing choral group, and a cameo appearance from none other than Björk.
"The charm with this album is that the listener rarely quite know—nor wish to predict—what it will go to next."
Nearly every song ends in a completely different point from where it started. A track examines the fleeting nature of fame with a delicate orchestration only to collapsing in electronic cacophony. Another, a cut echoing the artist's previous trap-infused style starts out moody and brooding, with menacing vocals, until fluttering flamenco handclaps and a heavenly chorus arrive to soften its jagged corners.
The Bridge Between Experiment and Pop
Another crucial balancing act of the album involves straddling the line of bold innovation and mainstream appeal. It is no surprise that it has become the artist's first work to crack the Top 5 of major markets: at its core a collection of truly catchy pop songs. One track sung primarily in English swells on a refrain that feels to collect more and more infectious hooks as it spins skyward. This feat gets echoed by a different expansive track that expands and constricts, intertwining layered tunes like a complex tapestry.
- A waltz-like number charms with its jaunty, Disney-adjacent drama and an anthemic hook.
- Lyrically, it aligns the cultural honesty of contemporary breakup anthems, lambasting a former lover labeled an "psychological terrorist".
- Throughout the album, the singing carry a sharp smile, akin to a storybook character concealing a blade: "Gold medal in being a motherfucker / You have won the trophy of letdown."
A Maximalist Banquet for the Ears
This album represents popular music on a grand scale, a hungry grasp for high artistry in an era of looming AI-generated sameness. It eschews solipsism in favor of glorious transcendence, crafting a dramatic drama that skillfully controls its built-in ridiculousness. This is an abundant well of buried treasure that takes patience to completely explore but never seem like a chore. While other big releases of the year seemed like feasting on meal, Lux offers a lavish banquet where the guests around it, some intoxicated on sacred wine, flit from conversations about ancient saints, the profound feeling of soul-shattering sadness, and shared stories about useless men. In essence, it's a contemporary theatrical production from music's most restlessly creative visionary.
