At first glance, this work may look closer to an arduous academic examination rather than the latest popular music record by an artist who just had a last single was a collaboration with a global K-pop star. Split across four separate parts and sung in thirteen tongues, we have a head-spinning classical-tinged work that delves into female mystique, spiritual ascent, and corporal change, often through the lens of various women saints. The end of a romance—a topic treated with raw openness elsewhere—soars skyward on this record, supported by the lush sound of a major symphony orchestra and work from an award-winning songwriter within an extensive list of contributors. Its sheer ambition alone renders the efforts of contemporary pop stars look rather laughable.
Transcending Academic Pretense
That this album manages to transcend overly intellectual posturing is nearly miraculous, with complete credit going to Rosalía. Although this is not the first time album to fuse historical sounds with modern styles, the scale feel far greater on Lux, and the tightrope walk far more pronounced. The element that really elevates her fourth album, outside of its complex melodies, rich arrangements, and inherent theatricality, proves to be an essential spirit of joy. Much like the legendary artist during her peak, you find a captivating sense to Rosalía's singing which sweeps you into its whirlwind. Even when she is tearing hearts in two, the listener still desire to be alongside her through the ride.
A Prime Moment of Joy
This playful spirit shines clearly during a stunning Italian song about a saint. It luxuriates in a sorrowful melancholy over more than four moments. Then, all the music falls silent, to reveal we hear a gleeful laugh followed by a declaration before a comically over-the-top string crescendo thuds in like comedic force. The track then segues into the frenetic track featuring racing orchestration, a powerful choral group, and a cameo appearance from none other than Björk.
"The charm of Lux is that the listener rarely quite understand—nor wish to know—where it will go next."
Nearly each track ends in a completely different place than where it started. A track explores the fleeting nature of fame with a delicate symphony only to disintegrating into electronic cacophony. Another, a cut echoing her earlier trap-infused work starts out moody and brooding, featuring prowling vocals, before sudden flamenco rhythms and an angelic choir enter to soften its jagged edges.
The Bridge Between Experiment and Pop
A key balancing act on Lux involves navigating the gap of bold experimentation and broad appeal. It is little coincidence that it has achieved her first work to crack the upper reaches of major markets: at its core a collection of truly undeniable pop songs. One track sung entirely in the English language swells on a refrain that seems to collect increasingly infectious melodies while it spins upward. That feat is repeated by another powerful ballad that expands and constricts, intertwining multiple melodies like a complex tapestry.
- A dance-infused song seduces via its playful, theatrical drama and a chant-along chorus.
- In its words, it shares the pop culture impact of contemporary heartbreak songs, eviscerating an ex- lover described as an "psychological bully".
- Across these tracks, the vocals carry a sharp edge, like a storybook figure concealing a knife: "Gold medal in being a motherfucker / You've the podium of letdown."
An Opulent Banquet for the Ears
Lux represents popular music on a maximalist scale, an ambitious grasp for high artistry amid of impending artificial blankness. It rejects solipsism for glorious elevation, crafting an over-the-top spectacle that masterfully controls its own inherent excess. This is a deep source of buried treasure that requires patience to completely mine but never seem like a chore. While some big pop albums of 2025 seemed like feasting on meal, Lux offers a sumptuous feast where the guests at the table, perhaps tipsy on sacred wine, flit between conversations about historical saints, the galvanizing sensation of soul-shattering grief, and common stories about useless men. It is a contemporary theatrical production from pop's truly endlessly creative visionary.
