Initially, Lux could seem closer to a difficult scholarly challenge than a new pop album by an artist who just had a last hit featured an international K-pop icon. Broken across four different movements and performed in thirteen languages, we have a dizzying symphonic work that delves into feminine mystique, religious ascent, and corporal transformation, often via the perspective of various female saints. The end of a romance—a topic handled with grounded openness elsewhere—soars skyward here, buoyed by the lush presence of a full symphony orchestra and contributions from a Pulitzer-winning songwriter within an extensive list of contributors. The pure audacity alone makes the work of other artists seem rather small.
Rising Above Academic Pretense
That Lux manages to transcend overly intellectual chin-stroking feels nearly miraculous, and complete praise belonging to Rosalía. Although this is not the first time project to alchemize the past and the present, the scale are much greater on Lux, and the tightrope walk far more pronounced. The element that truly raises this fourth album, outside of its multilayered tunes, rich arrangements, and engrained drama, proves to be an essential spirit of joy. Similar to the legendary artist during her height, you find a wondrous quality to Rosalía's voice which sweeps the listener up in its tornado. When she is breaking hearts apart, the listener nevertheless want to be right there for the journey.
A Prime Example of Joy
This exuberant spirit comes forth brightly on a stirring Italian song about a saint. It bathes in a sorrowful whirlpool over several minutes. Suddenly, everything drops away, to reveal we hear a gleeful giggle followed by a comment before a hilariously over-the-top string crescendo thuds in with comedic force. The track immediately segues into the frenetic single driven by racing strings, an imposing choral group, and a surprise appearance from none other than herself.
"The magic with this album lies in the listener never exactly know—nor wish to predict—where it is going to next."
Nearly each track finishes at a totally distinct place from where it began. One moment examines the fleeting trappings of celebrity over a delicate orchestration only to disintegrating in electronic cacophony. Elsewhere, a cut echoing the artist's previous rhythmic work starts off moody and sinister, with prowling vocals, before sudden traditional rhythms and an angelic choir enter to smooth its jagged corners.
The Bridge Of Art and Accessibility
A key achievement on Lux is straddling the line of bold innovation and broad accessibility. It is little surprise that the album has become her first release to break into the upper reaches of major charts: at its core a collection of utterly undeniable pop songs. A song sung primarily in English swells around a chorus that seems to gather more and more infectious hooks while it spirals skyward. This trick is repeated by another powerful ballad that grows and constricts, weaving multiple melodies like an intricate tapestry.
- A dance-infused number seduces with its jaunty, theatrical drama and an anthemic chorus.
- In its words, it aligns the pop culture impact of other breakup songs, eviscerating an ex- lover labeled an "psychological terrorist".
- Throughout these tracks, the vocals carry a painted-on smile, akin to a storybook figure concealing a knife: "Gold medal in being a scoundrel / You have won the trophy of letdown."
An Opulent Banquet for the Soul
Lux represents popular music on a maximalist scale, an ambitious grasp for high artistry amid of looming AI-generated sameness. It eschews self-absorption in favor of glorious elevation, creating a dramatic drama that masterfully manages its own built-in ridiculousness. It is a deep well of buried gems that takes time to completely explore but doesn't feels like hard work. While other major releases of the year seemed like a meager meal, this record is a lavish banquet where the guests at it, perhaps tipsy on holy drink, flutter from conversations about historical saints, the galvanizing sensation of heartbreaking sadness, and common gossip about useless men. It is a modern-day musical from pop's most restlessly inventive practitioner.
