At first glance, this work could seem more like a difficult academic examination than a new popular music record by an artist who just had a previous hit was a collaboration with an international K-pop star. Divided across 4 separate parts and performed in 13 tongues, we have a head-spinning classical-tinged work exploring feminine mystique, spiritual transcendence, and bodily transformation, frequently by way of the lens of various female saints. The end of a relationship—a topic treated with grounded openness on another major 2025 album—is launched upwards on this record, supported by the lush sound of a major orchestra and contributions from a Pulitzer-winning composer among an extensive list of contributors. The pure ambition by itself makes the work of contemporary artists seem rather laughable.
Rising Above Scholarly Exercise
The fact that Lux succeeds in escape overly academic posturing is nothing short of miraculous, with full credit belonging to Rosalía. While this is not the first time album to alchemize the past and modern styles, its stakes are far higher on Lux, with the tightrope walk more dramatic. The element that really elevates her fourth album, beyond its multilayered tunes, rich compositions, and engrained drama, proves to be a core spirit of fun. Similar to the iconic Björk during her peak, there is a wondrous sense to the vocalist's singing which sweeps the listener up in its tornado. When she's breaking your heart apart, you nevertheless want to stay alongside her for the ride.
A Signature Example of Joy
That exuberant energy shines brightly on a stirring piano-led ballad about Saint Clare. It luxuriates in a string-drenched melancholy over several moments. Then, all the music drops silent, and there's a spontaneous laugh and a comment before a hilariously over-the-top orchestral surge crashes in like comedic force. The track then shifts to the frenetic track driven by galloping strings, an imposing choir, and a surprise appearance from none other than herself.
"The charm of this album is that the listener never exactly know—or even want to predict—what it is going to next."
Almost each track concludes in a totally distinct place from how it started. A track examines the fleeting trappings of celebrity with a featherlight orchestration before disintegrating into electronic chaos. Another, a cut that recalls the artist's previous trap-infused style begins out moody and sinister, featuring menacing vocals, until sudden flamenco rhythms and a heavenly chorus arrive to soften its rough corners.
The Balance Between Art and Pop
Another crucial balancing act of Lux involves navigating the gap of bold innovation and mainstream accessibility. This is no coincidence that it has become the artist's highest-charting work to crack the upper reaches of major markets: its heart contains a suite of utterly catchy pop songs. One track sung primarily in the English language builds around a refrain that feels to collect more and more nagging melodies as it spirals skyward. That feat is repeated on another powerful track that grows and contracts, intertwining multiple tunes as an intricate weave.
- A dance-infused number charms via its jaunty, theatrical drama and a chant-along hook.
- Lyrically, it aligns the pop culture impact of other heartbreak anthems, lambasting a former partner described as an "emotional bully".
- Throughout these tracks, the vocals carry a painted-on smile, akin to a storybook figure concealing a knife: "Gold medal in acting like a motherfucker / You have won the trophy of disappointment."
An Opulent Banquet for the Ears
Lux is pop on a maximalist level, a hungry grasp for high Art in an era of impending AI-generated blankness. It eschews solipsism in favor of glorious transcendence, crafting an over-the-top spectacle that masterfully manages its inherent ridiculousness. This is an abundant source of buried gems that takes patience to fully explore but doesn't feels like a chore. Where other major releases of the year felt like feasting on scraps, Lux offers a lavish banquet at which the characters at it, perhaps tipsy on holy wine, flutter between discussions about ancient figures, the galvanizing feeling of heartbreaking grief, and shared stories about hopeless men. It is a modern-day musical from pop's truly restlessly inventive visionary.
