At first glance, this work might appear more like a difficult scholarly examination rather than a new pop project by an artist whose last hit was a collaboration with an international K-pop icon. Split across four different sections and sung in 13 tongues, it is a dizzying orchestral-influenced work that delves into feminine mystery, religious transcendence, and physical change, frequently via the prism of different saintly figures. The dissolution of a love affair—a topic handled with raw openness elsewhere—soars skyward on this record, buoyed by the lush sound of a full orchestra and input from an award-winning songwriter among an extensive roll call of collaborators. The pure ambition by itself makes the efforts of other pop stars look rather modest.
Rising Above Scholarly Exercise
That Lux manages to escape overly academic chin-stroking feels nearly miraculous, with full credit belonging to the artist. Although this is not the first time album to fuse the past with modern styles, its ambitions feel far greater here, with the balancing act far more pronounced. What truly raises her fourth release, beyond its complex melodies, rich compositions, and engrained theatricality, is a core spirit of fun. Much like the iconic Björk during her peak, you find a wondrous sense to Rosalía's singing that pulls the listener into its whirlwind. Even when she is breaking your heart in two, the listener still desire to be right there through the journey.
A Prime Moment of Joy
That exuberant spirit comes forth clearly on a stunning Italian song about a saint. It bathes in a sorrowful whirlpool for several minutes. Suddenly, everything falls away, and we hear a spontaneous giggle followed by a comment before a hilariously exaggerated string crescendo crashes down like comedic impact. The track then shifts into the wild track featuring racing orchestration, a powerful choral group, and a cameo role from none other than Björk.
"The charm with Lux lies in you rarely exactly know—or even wish to predict—what it is going next."
Almost every song ends at a totally distinct point than where it began. One moment explores the transient nature of celebrity with a delicate symphony only to disintegrating into digital chaos. Elsewhere, a song echoing her earlier trap-infused style begins off dark and brooding, with prowling vocals, until fluttering traditional handclaps and an angelic choir arrive to soften its jagged corners.
The Balance Between Art & Accessibility
A key achievement on Lux is straddling the line between radical experimentation and mainstream appeal. This is little coincidence that it has become the artist's highest-charting release to break into the upper reaches of key charts: at its core a suite of truly undeniable pop songs. A song performed entirely in English builds around a chorus that feels to gather more and more nagging hooks while it spirals skyward. That trick is repeated by another powerful ballad that grows and constricts, intertwining layered tunes like a complex tapestry.
- A waltz-like number seduces via its jaunty, theatrical flair and an anthemic chorus.
- In its words, it aligns with pop culture impact of other heartbreak songs, lambasting a former lover described as an "emotional terrorist".
- Across these tracks, the vocals have a sharp smile, akin to a storybook character hiding a blade: "Top prize in acting like a scoundrel / You have the podium of disappointment."
An Opulent Feast for the Ears
Lux represents popular music on a maximalist level, a hungry grasp for high Art amid of impending AI-generated sameness. It rejects self-absorption in favor of glorious transcendence, creating a dramatic spectacle that skillfully manages its built-in excess. This is an abundant source of buried treasure that requires time to fully mine but doesn't feels like hard work. Where some major pop albums of the year felt like feasting on scraps, this record offers a sumptuous feast where the guests at it, perhaps intoxicated on sacred wine, flutter from discussions about ancient saints, the galvanizing sensation of heartbreaking grief, and common gossip about hopeless men. In essence, it's a modern-day musical from pop's truly endlessly inventive visionary.
