Initially, Lux might appear closer to an arduous scholarly examination than a new pop record by a musician whose last hit was a collaboration with a global pop star. Divided across 4 distinct sections and voiced in thirteen tongues, this is a breathtaking classical-tinged opus that delves into feminine mystique, religious ascent, and physical change, frequently by way of the prism of different women saints. The dissolution of a relationship—a topic handled with raw honesty elsewhere—is shot upwards on this record, carried by the constant sound of a major symphony orchestra and work from an award-winning songwriter among a long roll call of collaborators. Its sheer daring alone makes the efforts of other pop stars appear rather laughable.
Transcending Scholarly Pretense
That Lux succeeds in transcend overly intellectual chin-stroking is nothing short of a miracle, with sole credit belonging to Rosalía. While this is not her first album to blend historical sounds with modern styles, the ambitions feel much greater on Lux, and the tightrope walk more dramatic. The element that truly elevates her fourth album, beyond its multilayered tunes, dense arrangements, and engrained drama, proves to be a core sense of playfulness. Much like the legendary artist at her height, there is a wondrous quality to Rosalía's singing which sweeps you into its tornado. When she's breaking hearts apart, you nevertheless desire to be alongside her through the ride.
A Signature Example of Exuberance
That exuberant energy shines brightly on a stirring Italian song about a saint. It bathes in a string-drenched whirlpool for more than four moments. Suddenly, everything drops silent, and there's a gleeful laugh and a comment prior to a hilariously exaggerated string crescendo crashes in with cartoonish force. The song then shifts into the wild single featuring racing orchestration, an imposing choral group, and a cameo appearance from none other than herself.
"The magic with Lux lies in you rarely exactly understand—nor wish to predict—where it is going to next."
Nearly every track finishes at a totally different place from how it began. A track explores the transient nature of fame with a featherlight symphony only to disintegrating into digital cacophony. Elsewhere, a song that recalls her previous rhythmic work begins off moody and sinister, featuring menacing vocals, until fluttering flamenco rhythms and a heavenly choir arrive to smooth the song's jagged edges.
The Bridge Between Art and Pop
Another crucial balancing act on the album involves navigating the line of bold experimentation and broad accessibility. This is little coincidence that the album has achieved the artist's first release to crack the Top 5 of key charts: at its core a suite of utterly catchy pop songs. A song sung primarily in the English language swells on a chorus that feels to gather increasingly infectious hooks as it spirals skyward. That feat is repeated by another expansive track that expands and contracts, weaving multiple melodies like a complex weave.
- A waltz-like song charms via its playful, Disney-adjacent drama and an anthemic chorus.
- Lyrically, it shares with cultural impact of contemporary heartbreak songs, lambasting a former lover described as an "psychological bully".
- Throughout the album, the singing have a painted-on edge, akin to a storybook figure concealing a blade: "Gold medal in being a scoundrel / You have the podium of disappointment."
An Opulent Banquet for the Soul
This album is popular music on a maximalist scale, a hungry grasp for capital-A artistry in an era of looming AI-generated blankness. It rejects solipsism in favor of sublime transcendence, creating an over-the-top spectacle that skillfully manages its inherent excess. This is an abundant source of buried gems that requires time to fully mine but doesn't feels like hard work. While other big pop albums of the year felt like a meager scraps, this record is a lavish feast where the characters around it, some tipsy on holy wine, flutter between discussions about ancient figures, the galvanizing feeling of heartbreaking grief, and common gossip about hopeless men. It is a contemporary musical from pop's most endlessly inventive practitioner.
