When Rosalía released ‘Berghain’, the lead single from her fourth album, ‘LUX’, it became clear that this new project would not continue the minimalist reggaeton style of ‘Motomami’ (2022) or the flamenco pop of ‘El Mal Querer’ (2018). Sung in English, Spanish, and German, and featuring repetitive chants from Yves Tumor and Björk, ‘Berghain’ felt more like a redefinition of the boundaries between pop, classical, and club music than just a new song. The rest of ‘LUX’ follows this ambitious path. Structured into four “movements,” with each track inspired by a different saint and sung in 13 languages, it exhibits great ambition, yielding results that are truly remarkable. Throughout the album, Rosalía draws inspiration from classical music (with assistance from the London Symphony Orchestra), while also incorporating pop hooks and melodies. For instance, ‘Mio Cristo Piange Diamanti’ culminates in a powerful clash of instruments, while ‘La Perla’ features a graceful waltz that contrasts beautifully with the biting lyrics she delivers. However, there is even more happening within the album. As suggested by its title, ‘Berghain’ incorporates beats from club music and reinterprets them with strings, while tracks like ‘Porcelana’ and ‘La Rumba del Perdón’ tap into flamenco influences. Meanwhile, ‘Memória’ serves as the artist's interpretation of fado. Lyrically, the album is unrestrained; its resonant opener ‘Sexo, Violencia y Llantas’ sees Rosalía confronting her mortality, and on the final track ‘Magnolias’, she imagines her own funeral. Between these themes, she touches on everything from toxic relationships (‘La Perla’) to issues of identity (‘Reliquia’) and her relinquishment of material possessions (‘Sauvignon Blanc’). All of this is, of course, accompanied by orchestral arrangements worthy of being celebrated in the classical music hall of fame. While ‘LUX’ has just been released, it may well be considered a pivotal moment in pop music for years to come.
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Absolutely stunning.