At first glance, Lux could seem more like a difficult academic quiz rather than a new pop project from an artist who just had a previous hit was a collaboration with an international pop icon. Divided into 4 different sections and sung in thirteen tongues, we have a dizzying symphonic opus that delves into feminine mystery, spiritual transcendence, and corporal change, often via the prism of different saintly figures. The dissolution of a relationship—a topic handled with grounded honesty elsewhere—soars upwards on this record, supported by the constant sound of a major symphony orchestra and contributions from a Pulitzer-winning composer among a vast roll call of collaborators. Its sheer ambition alone renders the efforts of other artists look rather small.
Transcending Academic Exercise
That this album manages to transcend dry intellectual chin-stroking is nothing short of a miracle, with complete credit belonging to Rosalía. Although this is not her first project to blend the past and modern styles, its stakes feel much higher on Lux, with the balancing act far more pronounced. The element that truly elevates this fourth release, outside of its multilayered tunes, dense arrangements, and engrained theatricality, proves to be an essential spirit of joy. Similar to the legendary Björk during her height, there is a wondrous sense to Rosalía's singing which sweeps the listener into its tornado. Even when she's tearing hearts apart, you nevertheless desire to be right there for the journey.
A Prime Example of Joy
This exuberant energy comes forth brightly during the stunning Italian song about a saint. It luxuriates in a sorrowful melancholy for more than four minutes. Suddenly, all the music drops away, and there's a gleeful giggle and a comment before a hilariously exaggerated orchestral surge crashes down with comedic impact. The song then shifts to the wild track featuring racing orchestration, an imposing choir, and a surprise appearance from none other than Björk.
"The magic of this album is that you rarely quite understand—nor wish to predict—where it is going to next."
Nearly every track concludes at a completely distinct place than how it started. A track explores the transient trappings of celebrity over a featherlight orchestration only to collapsing into digital cacophony. Elsewhere, a cut that recalls the artist's previous trap-infused work begins off moody and brooding, with menacing vocals, before sudden flamenco rhythms and a heavenly choir arrive to smooth the song's rough edges.
The Bridge Of Art and Pop
Another crucial achievement of the album is navigating the line of radical innovation and mainstream appeal. It is little coincidence that the album has achieved the artist's highest-charting release to crack the upper reaches of key markets: at its core a collection of utterly undeniable pop songs. One track sung primarily in the English language swells on a refrain that seems to gather more and more infectious melodies as it spins upward. That feat gets repeated by another expansive ballad that expands and contracts, weaving multiple tunes like an intricate tapestry.
- A waltz-like song seduces with its jaunty, theatrical flair and an anthemic chorus.
- In its words, it aligns with pop culture honesty of other heartbreak songs, lambasting a former lover labeled an "psychological bully".
- Throughout these tracks, the vocals have a sharp smile, like a storybook figure hiding a blade: "Gold medal in being a scoundrel / You've won the trophy of letdown."
An Opulent Feast for the Ears
Lux is pop on a grand level, a hungry reach for high artistry amid of looming artificial blankness. It eschews solipsism in favor of glorious elevation, creating an over-the-top spectacle that skillfully controls its built-in excess. This is a deep well of buried treasure that requires time to completely explore but doesn't seem like hard work. While some major releases of the year seemed like feasting on meal, this record is a lavish feast where the guests at it, perhaps tipsy on holy wine, flit between discussions about historical saints, the galvanizing sensation of heartbreaking grief, and shared stories about useless men. In essence, it's a contemporary musical from music's most restlessly inventive practitioner.
