At first glance, this album could seem closer to a difficult academic examination than the latest popular music project by an artist whose previous hit was a collaboration with a global pop icon. Broken into four different parts and performed in 13 languages, we have a head-spinning orchestral-influenced opus that delves into female mystique, spiritual transcendence, and physical transformation, frequently by way of the prism of various women saints. The end of a relationship—a topic treated with grounded openness elsewhere—is launched skyward here, supported by the constant sound of a full orchestra and contributions from a Pulitzer-winning songwriter among a vast roll call of contributors. Its sheer daring alone renders the efforts of contemporary pop stars appear rather laughable.
Transcending Scholarly Pretense
That this album manages to transcend dry intellectual chin-stroking is nothing short of miraculous, with full credit belonging to Rosalía. Although it's not the first time album to fuse the past and modern styles, the ambitions are far greater here, and the tightrope walk far more pronounced. What really raises her fourth album, outside of its complex melodies, rich compositions, and inherent drama, proves to be an essential spirit of fun. Much like the legendary Björk at her peak, you find a wondrous quality to the vocalist's voice which sweeps you up in its whirlwind. When she's tearing your heart in two, the listener still want to stay right there through the journey.
A Signature Moment of Exuberance
This exuberant spirit shines brightly on the stirring piano-led song inspired by Saint Clare. It luxuriates in a string-drenched melancholy over several moments. Then, all the music falls silent, to reveal there's a spontaneous laugh followed by a declaration before a hilariously over-the-top orchestral surge crashes down with cartoonish impact. The track immediately segues into the wild single driven by galloping strings, an imposing choral group, and a cameo appearance from the artist herself.
"The magic of this album lies in the listener rarely exactly know—or even wish to know—what you will go next."
Almost each song concludes at a totally distinct point from how it began. One moment explores the fleeting trappings of fame with a featherlight orchestration only to collapsing in digital chaos. Elsewhere, a song echoing her earlier trap-infused work begins off dark and brooding, with prowling vocals, until sudden flamenco handclaps and an angelic choir arrive to smooth the song's jagged corners.
The Balance Of Experiment and Pop
Another crucial balancing act on the album involves navigating the line of bold experimentation and broad appeal. It is no surprise that the album has achieved the artist's first work to break into the Top 5 of key markets: its heart contains a suite of utterly catchy pop songs. A song sung entirely in the English language builds on a chorus that feels to collect more and more infectious melodies as it spins upward. This feat gets repeated by another powerful track that grows and constricts, weaving layered tunes as an intricate weave.
- A dance-infused song charms via its playful, theatrical flair and a chant-along hook.
- In its words, it shares with cultural honesty of contemporary breakup anthems, eviscerating a former partner labeled an "psychological bully".
- Throughout the album, the singing have a painted-on edge, akin to a storybook figure concealing a knife: "Gold medal in acting like a scoundrel / You have the podium of letdown."
An Opulent Banquet for the Soul
Lux is pop on a grand scale, a hungry grasp for high artistry in an era of looming artificial blankness. It eschews self-absorption in favor of glorious elevation, creating a dramatic spectacle that masterfully manages its own built-in ridiculousness. It is an abundant source of buried treasure that takes patience to fully mine but never seem like hard work. Where some big pop albums of the year seemed like a meager meal, Lux is a lavish banquet at which the guests at it, some intoxicated on holy wine, flit between discussions about ancient saints, the profound sensation of soul-shattering grief, and common stories about useless men. It is a contemporary theatrical production from music's truly endlessly creative visionary.
