9/10
ROSALÍA, Spain’s genre-defying pop icon, released her fourth studio album, LUX, on Friday. The avant-garde album blends elements of Classical and Baroque music with Catholicism, creating a dazzling hybrid of genre and culture—part of ROSALÍA’s ongoing redefinition of the pop genre. Within just 24 hours, LUX made history as the most-streamed album by a female Spanish-speaking artist, underscoring the global reach and impact of her bold artistic vision.
The album discusses themes of femininity, divinity, and the emotional—even physical—toll of love. ROSALÍA seeks to reclaim her relationship with Catholicism by embracing various female heroines and the alluring, symbolic image of the nun. The album’s cover depicts ROSALÍA with her arms bound to her sides by a contemporary habit: a skin-tight white tunic and coif.
ROSALÍA dominates the album, showing off her impressive pitch and operatic voice. She also features several cameos from Yves Tumor, Yahritza y Su Esencia, Estrella Morente, Sílvia Pérez Cruz, and, notably, Björk, who ROSALÍA cites as one of her biggest musical inspirations.
Her ability to blend musical styles has earned critical acclaim across her last four albums. MOTOMAMI+, released in 2022, takes inspiration from reggaetón and other Caribbean dance music, adorned with ROSALÍA’s classical Spanish influence. Her knack for synthesizing diverse musical forms in an authentic and unique fashion is underscored on LUX.
ROSALÍA also sings in thirteen languages, including Spanish, Catalan, Hebrew, German, Ukrainian, Arabic and English. The entire album was recorded alongside the London Symphony Orchestra.
“Sexo, Violencia y Llantas” opens the album. The soft piano quickly transforms into a suspenseful bridge recalling elements of Beethoven’s Fifth Symphony. ROSALÍA displays the talent of the London Symphony Orchestra, allowing a minute long ascending performance that is shattered by her powerful declaration: “Quién pudiera venir de esta tierra / Y entrar en el cielo y volver a la tierra,” or “Who could come from this earth / And enter heaven and return to earth,” she sings. Here, ROSALÍA’s familiarity with flamenco is most evident—her voice is intense, poetic, and profoundly Spanish. The song encapsulates many elements of Spanish culture, a proud declaration of ROSALÍA’s Catalan and Andalusian heritage. The song contrasts physical motifs with a spiritual world suggested by doves, saints, and touches of mysticism.
In what is perhaps the album’s most popular song, “Berghain,” the content is juxtaposed with the title. With an intense, Vivaldi-inspired background, ROSALÍA’s crystalline voice evolves as she alternates between German, Spanish, and English. The choir builds suspense by chanting in German, giving way to ROSALÍA’s polyglot performance as she sings: “Die Flamme dringt in mein Gehirn ein / Wie ein Blei-Teddybär” or “The flame penetrates my brain / Like a lead teddy bear.” German opera is notoriously difficult to master. With longer, more intense words, ROSALÍA creates rhyming schemes that are melodic poses a challenge. However, ROSALÍA is unfazed, showcasing a Disney princess-esque performance. Toward the end of the song, Björk chimes in, singing a drawn-out, ethereal line: “This is divine intervention.” In the music video, ROSALÍA adopts the role of Snow White, communicating with animals, including a finch projecting Björk’s powerful voice.
Other songs skew more toward the pop genre, such as “Reliquia.” The track is sentimental and youthful, with a light, orchestral background. Despite its softness, the arrangement still leaves plenty of room for ROSALÍA’s vocal range to shine. The song transports listeners to a ballroom as ROSALÍA reflects on the loss of agency that arises from longing for love and disconnection from the self. “Pero mi corazón nunca ha sido mío, yo siempre lo doy / Coge un trozo de mí, quédatelo pa’ cuando no esté / Seré tu reliquia,” she sings, translating to “But my heart has never been mine, I always give it away / Take a piece of me, keep it for when I’m gone / I’ll be your relic.” The last twenty seconds erupt into an intense, unexpected shift, representing ROSALÍA “running away” from unrequited love, instead embarking on a journey of self discovery. ROSALÍA recalls past travels, honoring each as a formative experience—part of LUX’s overarching theme of global-citizenship reflected in its diverse use of language.
Other songs like “Divinize” are more poignant, featuring an emotional piano solo in which ROSALÍA eulogizes the past. “This ghost’s still alive / I’m still alive / It’s more alive than ever / More alive than ever,” she sings.
Sung in Italian, “Mio Cristo Piange Diamanti” carries such emotional force and conviction that one might think Andrea Bocelli was involved in the production. Here, ROSALÍA explores rarely seen vocal qualities—most notably rasp—in a way that doesn’t feel forced and adds to the song’s emotional depth. “Come il lato nascosto della luna / Una volta svelato so che non lo dimenticherò,” she sings, translating to “Like the dark side of the moon / Once revealed, I know I won’t forget it.”
“De Madrugá” stands out on the album for its use of the synthesizer, giving the song a modern, danceable beat. ROSALÍA uses digital instruments sparingly throughout LUX, making their presence here especially striking. The track is based on the story of Olga of Kiev, a female rule of the Kievan Rus known for her power and mercilessness. ROSALÍA sings several verses in Ukrainian, a stunning display of her linguistic ability.
LUX has garnered unparalleled critical acclaim, with Rolling Stone music editor Julyssa López giving the album full marks—the first time she has ever done so. The talent, intention, and embrace of the unorthodox give way to a truly one-of-a-kind album, evoking religious ecstasy in many. LUX sets itself apart from other pop albums through its ambition and genre-breaking creativity. ROSALÍA produced a transcendent album that feels radical and truly her own.
