Spanish singer-songwriter Rosalía’s new album Lux is not your typical pop release. It’s a spiritual trip through heartbreak, faith, and chaos. The Catalan singer has always blurred the lines between genres, but on Lux, she goes all in; 18 songs, 13 different languages, and collaborations with Bjork, Yves Tumor and the London Symphony Orchestra. It’s big, bold, and a little overwhelming, but that is kind of the point.
The record opens with “Sexo, Violencia, y Llantes,” where Rosalía sings about wanting to live between Earth and heaven. From the start, you know this album isn’t chasing radio hits; it’s about emotion and exploration. On “Berghain,” the album’s lead single, she mixes church organs, German opera and electronic chaos into something that feels like a holy rave.
It’s wild and theatrical but also deeply personal.
Underneath the grandeur, Lux is really about Rosalía finding herself again. After her high-profile breakup with fiancé Rauw Alejandro, she channels her pain into art.
Songs like “La Perla” and “Reliquia” cut deep as she calls out an “emotional terrorist” in one and admits she’s given away too much of herself in the other.
“Divinize,” in my opinion, is the emotional high point of the album, where she turns her suffering into something sacred.
Rosalía’s voice, as always, is the star. She can go from a delicate whisper to full operatic power, often in the same verse. You can hear her flamenco roots everywhere, but she is also experimenting in ways rarely done in pop music. One song will sound like a medieval prayer, and the next like a club track from the future.
Lux isn’t an easy listen, but it’s not meant to be. It demands your full attention, asks you to sit with it, and rewards you for sticking around.
In a world full of short, catchy songs built for social media, Rosalía’s album feels like a reminder that pop can still be ambitious and strange. It’s an album that sounds like nobody else because nobody else could make it.
It’s messy, dramatic, and human, just like Rosalía herself.