Initially, this work may look closer to a difficult university quiz than the latest pop project from a musician who just had a previous hit was a collaboration with an international pop star. Divided across four separate parts and voiced in thirteen tongues, we have a dizzying symphonic work exploring female mystique, religious ascent, and physical transformation, often by way of the lens of various female saints. The dissolution of a relationship—a topic treated with grounded openness elsewhere—is launched skyward here, carried by the lush presence of a major symphony orchestra and contributions from an award-winning composer among an extensive roll call of contributors. Its sheer audacity alone renders the efforts of contemporary pop stars seem rather modest.
Transcending Scholarly Pretense
That this album succeeds in transcend dry intellectual posturing is almost miraculous, with complete credit belonging to Rosalía. While it's not the first time album to alchemize the past with modern styles, its scale feel much greater on Lux, with the balancing act more dramatic. The element that really elevates her fourth release, beyond its complex melodies, rich arrangements, and engrained theatricality, proves to be a core sense of joy. Much like the legendary Björk during her peak, there is a wondrous quality to Rosalía's voice that pulls the listener into its tornado. Even when she's breaking hearts apart, you still desire to be right there for the ride.
A Signature Example of Joy
That exuberant spirit shines brightly on a stunning piano-led song about a saint. It bathes in a string-drenched whirlpool for several minutes. Then, everything falls away, to reveal there's a spontaneous laugh and a declaration before a hilariously exaggerated orchestral surge thuds down like comedic force. The song immediately segues into the wild single featuring racing orchestration, an imposing choral group, and a cameo role from none other than herself.
"The charm with this album lies in the listener rarely exactly know—or even want to know—where it will go next."
Nearly every track finishes in a completely distinct point from where it began. One moment explores the fleeting trappings of fame over a delicate symphony before disintegrating into electronic cacophony. Elsewhere, a song that recalls the artist's previous trap-infused work begins off dark and sinister, with prowling vocals, until sudden traditional handclaps and an angelic chorus enter to soften its jagged corners.
The Balance Of Experiment and Pop
A key achievement on Lux is navigating the gap of radical experimentation and broad appeal. It is little coincidence that the album has become the artist's highest-charting release to crack the upper reaches of key charts: its heart contains a collection of truly catchy hits. A song sung entirely in English builds on a chorus that feels to collect more and more infectious hooks as it spins upward. This feat is repeated by a different powerful ballad that grows and contracts, weaving layered tunes as an intricate weave.
- A dance-infused song charms via its playful, theatrical flair and an anthemic hook.
- Lyrically, it shares with pop culture honesty of contemporary heartbreak songs, eviscerating a former partner labeled an "emotional terrorist".
- Throughout these tracks, the singing have a painted-on edge, akin to a storybook character hiding a knife: "Gold medal in being a motherfucker / You have the podium of disappointment."
A Maximalist Banquet for the Soul
This album is popular music on a maximalist level, an ambitious grasp for high artistry in an era of looming artificial sameness. It rejects solipsism in favor of glorious transcendence, crafting a dramatic drama that masterfully controls its built-in excess. It is an abundant source of hidden treasure that takes patience to fully mine but doesn't seem like hard work. Where some major pop albums of the year felt like feasting on meal, this record offers a lavish feast at which the guests at the table, some intoxicated on holy drink, flutter between conversations about historical figures, the profound feeling of heartbreaking grief, and shared gossip about useless partners. It is a contemporary theatrical production from pop's truly endlessly creative practitioner.
