Initially, this work may look closer to an arduous scholarly challenge rather than the latest pop project from an artist who just had a previous single was a collaboration with an international K-pop star. Split across four different sections and sung in 13 languages, it is a breathtaking symphonic opus exploring feminine mystery, religious ascent, and physical change, frequently via the prism of various saintly figures. The end of a love affair—a topic handled with raw honesty elsewhere—is launched heavenward on this record, buoyed by the constant sound of a major symphony orchestra and work from an award-winning composer among a vast roll call of contributors. The pure audacity by itself renders the work of contemporary artists look rather small.
Transcending Academic Exercise
The fact that Lux manages to avoid dry academic posturing is almost a miracle, with full credit going to Rosalía. While it's not the first time album to blend historical sounds with the present, its scale are much higher here, with the balancing act more precarious. What truly elevates this fourth release, beyond its multilayered melodies, dense arrangements, and inherent theatricality, proves to be a core spirit of joy. Much like the legendary Björk during her height, there is a wondrous sense to the vocalist's singing that pulls you up in its whirlwind. When she is breaking your heart apart, you nevertheless desire to be alongside her through the ride.
A Signature Example of Joy
This exuberant energy comes forth brightly on a stirring piano-led song inspired by Saint Clare. It bathes in a sorrowful melancholy for several minutes. Then, all the music falls away, and there's a gleeful laugh followed by a comment before a comically over-the-top string surge crashes down with comedic impact. The song then shifts to the frenetic track driven by racing orchestration, an imposing choir, and a surprise appearance from none other than herself.
"The charm of this album lies in the listener rarely quite understand—or even wish to know—what it is going to next."
Nearly each song ends in a completely distinct place from how it started. One moment examines the transient trappings of celebrity over a delicate orchestration only to collapsing in digital chaos. Another, a cut echoing her previous trap-infused style begins off moody and sinister, with prowling beats, until fluttering traditional handclaps and a heavenly chorus enter to smooth the song's rough edges.
The Bridge Between Experiment and Pop
A key balancing act on Lux is navigating the gap between radical innovation and broad appeal. It is no surprise that the album has achieved her highest-charting work to break into the Top 5 of major markets: at its core a suite of truly catchy pop songs. A song sung entirely in the English language builds around a chorus that seems to gather more and more infectious hooks as it spins upward. That trick gets repeated by a different expansive track that grows and constricts, weaving multiple tunes like an intricate tapestry.
- A waltz-like song seduces with its jaunty, theatrical drama and an anthemic chorus.
- In its words, it shares the cultural impact of other breakup songs, eviscerating a former partner labeled an "emotional terrorist".
- Throughout these tracks, the vocals carry a sharp smile, akin to a storybook figure hiding a blade: "Top prize in being a motherfucker / You have won the trophy of letdown."
A Maximalist Banquet for the Ears
This album is pop on a grand level, a hungry grasp for capital-A Art in an era of looming artificial blankness. It rejects self-absorption for sublime transcendence, crafting a dramatic spectacle that masterfully manages its inherent ridiculousness. It is an abundant source of buried gems that requires patience to fully explore but doesn't seem like hard work. Where other major releases of the year felt like a meager scraps, Lux offers a sumptuous banquet where the guests at it, perhaps intoxicated on sacred wine, flit between discussions about ancient saints, the galvanizing feeling of soul-shattering sadness, and common gossip about useless partners. In essence, it's a modern-day theatrical production from music's most restlessly inventive visionary.
