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On the surface, this work could seem closer to a challenging university challenge rather than a new popular music record from a musician whose last single was a collaboration with an international K-pop star. Divided into four separate parts and voiced in 13 languages, this is a head-spinning classical-tinged album that delves into female mystique, spiritual ascent, and corporal transformation, frequently via the perspective of different women saints. The end of a love affair—a topic handled with grounded openness elsewhere—soars upwards here, buoyed by the lush sound of a full symphony orchestra and contributions from an award-winning songwriter among a vast list of collaborators. The pure daring by itself makes the efforts of other pop stars look rather small.

Transcending Scholarly Pretense

The fact that this album manages to transcend overly intellectual chin-stroking feels nothing short of a miracle, and complete credit belonging to Rosalía. Although this is not the first time album to alchemize historical sounds and modern styles, the scale are much higher on Lux, with the tightrope walk more pronounced. The element that truly elevates this fourth album, outside of its multilayered melodies, rich compositions, and inherent theatricality, is a core spirit of fun. Much like the legendary Björk during her peak, there is a captivating sense to the vocalist's singing which sweeps the listener up in its whirlwind. When she's breaking hearts in two, you nevertheless desire to stay alongside her through the ride.

A Signature Moment of Exuberance

This playful energy comes forth clearly during the stunning Italian ballad inspired by Saint Clare. It luxuriates in a sorrowful whirlpool for more than four moments. Suddenly, all the music drops silent, to reveal there's a gleeful laugh and a declaration prior to a hilariously exaggerated orchestral surge crashes in like cartoonish force. The song immediately shifts to the frenetic track driven by racing strings, an imposing choir, and a cameo role from none other than herself.

"The charm of Lux is that you rarely quite understand—nor want to predict—what it will go to next."

Almost each track concludes at a completely different point than where it started. One moment explores the transient nature of celebrity with a featherlight symphony only to disintegrating into digital chaos. Elsewhere, a cut that recalls her previous trap-infused style begins off dark and sinister, featuring menacing beats, until fluttering traditional rhythms and an angelic chorus enter to smooth its jagged corners.

The Bridge Between Experiment & Pop

Another crucial balancing act of Lux is navigating the line between radical innovation and broad accessibility. This is no surprise that it has become the artist's first release to crack the upper reaches of key charts: its heart contains a collection of utterly catchy pop songs. A song performed entirely in English builds around a refrain that seems to collect increasingly nagging melodies as it spins skyward. That trick gets repeated by another powerful track that grows and contracts, intertwining multiple tunes like an intricate weave.

• A dance-infused number charms with its playful, Disney-adjacent flair and an anthemic hook.
• In its words, it shares with cultural impact of contemporary heartbreak songs, lambasting a former lover labeled an "psychological bully".
• Throughout these tracks, the singing carry a sharp smile, like a storybook character hiding a blade: "Top prize in being a motherfucker / You've the podium of letdown."

An Opulent Banquet for the Soul

Lux represents popular music on a maximalist level, an ambitious reach for capital-A artistry in an era of impending artificial sameness. It eschews solipsism for glorious elevation, creating an over-the-top drama that masterfully controls its own inherent ridiculousness. It is an abundant well of buried treasure that requires patience to fully mine but never seem like hard work. While other major releases of the year felt like feasting on meal, Lux is a lavish banquet at which the guests at the table, perhaps tipsy on sacred wine, flit from discussions about ancient figures, the galvanizing sensation of soul-shattering sadness, and common gossip about hopeless partners. It is a modern-day musical from pop's most restlessly creative visionary.