The internet is going wild over Spanish singer-songwriter Rosalía’s fourth studio album, “Lux,” which released on Nov. 7. It is not only one of the most demanding album’s she’s ever made, but possibly one of the most interesting pop albums of recent times. Rosalía commands the attention of listeners, requiring a sharp mind and attention span past the span of thirty second TikToks.
The album features 13 different languages and marks a shift from her last album, “Motomami,” which was very authentically Spanish with a lot of hybridized flamenco and reggaeton. It transitions Rosalía’s sound from a more traditional Latin pop style to a more symphonic sound.
Rosalía has received many rave reviews on the album, from her strong feminine energy to impressive vocals and creating an extremely unique experience. She also collaborated with the London Symphony Orchestra on instrumentals, something extremely unique and what truly sets the music apart from everything on the market today.
Another unique aspect of “Lux” is that there is an ongoing theme of religion and a spiritual experience, one that many listeners and critics are very intrigued by and trying to interpret. It fits the transcendental and intense sound the instrumentals create. In an article from BBC, Rosalía told her fans to listen to the album using headphones in a dark room, which is meant to enhance the dream-like feel.
The album also features a string of features, including popular artists such as Björk, who contributes electric vocals on the sixth track, “Berghain,” which is actually a popular techno club in Berlin. While many expected this to be an upbeat dance track, it actually starts with an orchestra and continues into a mysterious and intense chorus. She includes lyrics in German, “Seine Angst ist meine Angst / Seine Liebe ist meine Liebe / Sein Blut ist mein Blut,” which translates to English as “His anger is my anger / His love is my love / His blood is my blood.” These lyrics really speak to dedicating yourself to a person so deeply that you feel their exact emotions.
In the bridge, Björk sings, “The only way to save us is through divine intervention / The only way I will be saved is through divine intervention.” This continues the theme of religion and spirituality, even as she connects it to different aspects of life, like relationships and love. In other songs, she continues to get more personal about past relationships and does not hold back from insulting language such as calling someone an “emotional terrorist.” This goes to show that even with an album so large in sound and genre, she can still produce music that is specific and relatable.
The last song on the album, “Magnolias,” ends the entire experience with a bang. There is a choir filled with background vocals and instrumentals that defy gravity. Magnolias are historically associated dignity and purity, referring back to her renewal and spiritual awakening.
Whether you are native Spanish-speaker or not, this album will leave you thinking. Whether it be about the orchestra, choir of vocals, different languages, or emotional themes, this album does something different than we have ever heard before in pop music. It is nothing short of inspirational and angelic, clearing proving that Rosalía is a generational artist.
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