Dissected into four emotional movements, Catalan singer ROSALÍA’s fourth studio album, “LUX,” released on Nov. 7, is better described as a spiritual reckoning than an album.
A stark dichotomy to her provocative and sensual previous album, “MOTOMAMI,” this work embodies its angelic namesake: light. The songs bloom from the stories of female theological figures across various religions, an interconnection further established by her use of 13 different languages throughout the album. Throughout the creative process, ROSALÍA found herself inundated by a desire to learn about spirituality, working to understand “how sainthood is conceived differently depending on cultures and religions” and how there’s a global equivalence in many religious anecdotes.
“Yo no soy tan mía como del mundo.” I don’t belong to myself as much as I belong to the world. That’s the undercurrent of her album: a river of universal faith rushing through every lyric, every sound. As such, “LUX” is a revolutionary masterpiece that encapsulates the grandeur of theology, feminine divinity and the inherent imperfection of humanity.
ROSALÍA’s lyrics encapsulate complex topics through intricate wordplay and the usage of a diverse array of languages. To write in so many different languages, ROSALÍA had to study the tongues and their nuances, consulting translators to ensure linguistic accuracy and sensibility. Her effort is evident in songs such as “Porcelana,” which is sung in Spanish, Japanese, Latin and English. In this song, ROSALÍA conveys a story mirroring that of Japanese saint Ryonen Genso and the extreme measures she took out of devotion to God. In the lyrics “Mi piel es fina, de porcelana / Rota en la esquina,” she describes how Genso, renowned for her beauty, was also shunned from Buddhism for the same reason. She burned her own face out of grief, reflecting the “broken porcelain” ROSALÍA speaks of.
“Divinize” was one of my personal favorites because it is partially sung in Catalan. Like the artist, I am Catalan and grew up speaking the tongue since I was born in the community’s capital. Before the release of “LUX,” ROSALÍA had only one song in Catalan, “Milionària,” and it was exciting to see her acknowledge that part of her ethnicity once again. As a minority language from Spain, it is rarely represented in mainstream media, and I found great pride in hearing it in the song.
It is safe to assume that international fans of the artist felt similarly when listening to her sing in their native languages, whether it be Ukrainian, English or Arabic.
The album’s diverse instrumentation also marks a shift in ROSALÍA’s artistic image, complementing the themes expressed in the songs.
While “MOTOMAMI” is bass-heavy with reggaeton and Caribbean music influences, “LUX” is fierce in a more guttural, visceral manner. The London Symphony Orchestra accompanies many of the songs, such as “Berghain” featuring Björk and Yves Tumor, elevating the listening experience. The all-encompassing feel of the ensemble reflects the desperation in ROSALÍA’s high-pitched, operatic voice as she grapples with the polarity of holiness and humanity — the pure and the tainted, the light and the dark.
Contrastingly, “La Perla,” featuring Yahritza y Su Esencia, takes advantage of its ebbing, light instrumental as ROSALÍA disappointedly reflects on a failed love. The song’s delicate guitar strumming allows for the clarity of the singers’ voices to carry the listener through the lyrics, each word ringing in their mind. As the album is sonically maximalist, this contrast provides a refreshing auditory relief.
“La Rumba del Perdón” is a song with a more familiar musicality; it’s flamenco claps and aggressive guitar strums paired with complex vocal runs reminiscent of her second studio album, “El Mal Querer.”
It is hard to find any cracks in the album or reasons for improvement. While it is imperfect, it is fulfilling. All songs are fleshed out with their messages explored with an intense profundity. The only area of possible complaint is the length of some songs. While many surpass the four-minute mark, others are just past two minutes. It makes complete sonic sense in the context of the album, but if songs were to be played individually, it would make the listener anticipate a more drawn-out listening experience and be left disappointed by an abrupt ending.
Regardless, “LUX” transforms pop in ways only exhibited by trailblazers such as Björk and Kate Bush. While ROSALÍA has always been experimental with her works, it has never been to the degree of her current one. The expert use of foreign languages, intricate, experimental instrumentation and complex lyricism make “LUX” live up to its name: a beacon of light in an evolving pop music scene.
Rating: 5/5
