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Initially, Lux could seem more like a difficult scholarly challenge than the latest popular music project by an artist who just had a previous hit featured a global pop icon. Broken across four distinct sections and voiced in thirteen languages, this is a dizzying classical-tinged opus exploring feminine mystique, spiritual transcendence, and bodily change, often through the perspective of various women saints. The dissolution of a relationship—a topic handled with grounded openness elsewhere—is shot skyward on this record, buoyed by the constant sound of a major symphony orchestra and contributions from a Pulitzer-winning composer within an extensive list of collaborators. The pure audacity by itself makes the work of other pop stars appear rather small.

Transcending Scholarly Pretense

That Lux succeeds in escape dry academic posturing feels almost a miracle, with sole credit going to Rosalía. Although this is not her first project to fuse the past with modern styles, its stakes are much greater here, with the balancing act more pronounced. What truly elevates her fourth album, outside of its complex melodies, dense compositions, and inherent theatricality, proves to be an essential spirit of joy. Similar to the iconic artist during her peak, you find a wondrous quality to Rosalía's voice that pulls you into its tornado. Even when she's breaking your heart in two, you nevertheless want to be alongside her for the ride.

A Signature Moment of Exuberance

This exuberant spirit comes forth brightly during a stunning Italian ballad about a saint. It luxuriates in a string-drenched whirlpool for more than four moments. Then, everything drops away, and there's a spontaneous giggle and a declaration before a comically exaggerated string surge crashes in like comedic force. The track immediately segues into the wild track driven by galloping strings, an imposing choir, and a cameo role from the artist herself.

"The magic with this album lies in you never quite understand—or even wish to predict—what you will go next."

Nearly every song concludes at a totally different point than where it began. A track examines the transient trappings of fame over a featherlight symphony before collapsing in digital cacophony. Another, a cut echoing her previous rhythmic work begins off moody and sinister, featuring prowling vocals, before sudden flamenco rhythms and a heavenly chorus enter to smooth the song's rough corners.

The Balance Of Experiment and Accessibility

A key balancing act on Lux involves straddling the line of radical experimentation and mainstream appeal. This is little surprise that it has become her first release to break into the Top 5 of major markets: at its core a collection of truly undeniable hits. A song sung entirely in the English language builds around a chorus that seems to collect more and more infectious hooks as it spirals upward. This trick gets repeated on a different powerful ballad that grows and contracts, intertwining layered tunes as a complex tapestry.

• A waltz-like number charms with its playful, theatrical drama and an anthemic hook.
• Lyrically, it shares the cultural impact of other breakup songs, lambasting a former partner described as an "psychological terrorist".
• Across these tracks, the singing carry a sharp smile, like a storybook character concealing a blade: "Gold medal in acting like a motherfucker / You've won the trophy of letdown."

An Opulent Feast for the Soul

This album represents popular music on a maximalist level, an ambitious grasp for high Art amid of looming artificial blankness. It rejects solipsism for glorious transcendence, creating an over-the-top drama that masterfully controls its built-in excess. It is a deep source of buried gems that requires patience to fully mine but doesn't feels like a chore. While other big pop albums of the year seemed like feasting on scraps, this record offers a lavish banquet at which the characters around it, some tipsy on holy drink, flit between conversations about historical figures, the profound sensation of heartbreaking grief, and common gossip about useless partners. It is a modern-day theatrical production from pop's truly restlessly creative practitioner.