A direct translation of the Latin word for light, LUX is a maximalist embodiment of the strength found within the vulnerability of being able to wholly experience love. At its core, LUX serves as a testament to Rosalia’s perseverance as an artist and her inherent curiosity to discover more about herself; continuing to discover more about the world around her. Rosalia understands the fundamental acceptance of the benefits of being able to live freely… to learn. To be curious at heart is a gift, and managing to nurture it is a strength.
Humans are deeply curious beings, and this album is described to be a research project, as she states in her own terms. Not only is LUX conceptually in tune with already complex themes such as mysticism and spirituality, but it is also deeply aligned with the presence of femininity found throughout time; transcending faith and investigating the quintessential factors of feminine energy that trickle through overcoming hardships. Feminine energy gives not only love but light. This concept is exactly what Rosalia wants to depict in the album: the beauty found throughout the depths of obscurity, the beacon of light that’s given when engulfed in darkness. That energy is essentially feminine.
Rosalia goes for the jugular when it comes to the release of this album, striking us with lead single “Berghain” as a welcoming into the new age of Rosalia, which I think is genius. “Berghain” is consciously aggressive, a full intentional slap to the face. Rosalia intentionally describes MOTOMAMI as minimal, explicitly pushing the agenda of full-blown maximalism with the release of LUX.
A collaboration of explosive elements, not only through its production but also with its chosen features, utilising two artists with major artistic presence on this single is commendable. Gathering both Björk and Yves Tumour, as well as a full orchestral arrangement, not only brings forth her artistry in a new light but also allows Rosalia to push the boundaries of her written and vocal abilities.
“Berghain” is purposely audacious. Rosalia sings opera in one of the 14 new languages she acquired for this album — German — breaking into English with an expansive addition of Icelandic singer Björk’s powerful lines, “The only way to save us is through divine intervention,” tying in with the explicit Yves Tumour’s “I’ll fuck you till you love me,” doubling down on the ferocious nature of the single. It is a deliberate illumination of Rosalia’s intended themes of divinity and desire at the forefront. “Berghain” is a powerhouse of talent pooled into a song that truly encapsulates Rosalia’s engagement with the divine, preceded by a musical arrangement of rage, vigour, and tenacity.
A pivotal moment in the album comes through in the first of the four “movements.” A song totally in Italian, “Mio Christo” unveils a story about the relationship between Saint Francis of Assisi and Saint Clare of Assisi; this reference deliberately alludes to the concurrence of spirituality and humanity. Seemingly, it is an introspective take on its emotional correlations within relationships — not only with oneself but others. This single sonically accomplishes the ultimate release, integral to her personal aspirations during the creation of this record.
Working with the likes of the profound London Symphony Orchestra was definitely a grand choice, yet the execution is so worth it. Rosalia continuously describes throughout multiple interviews that this is the first time she believes she accomplished a completion of a thought, which structurally is quite evident — not only in the development of her written skill but also in her vocal demonstrations. This is the best she’s ever sung, and “Mio Cristo” is a phenomenal display of her reaching new heights as a vocalist. She playfully ends the song with the line “that’s the energy we need” as we hear the artist’s voice tremble, reaching new peaks in her newfound operatic talents.
Making it clear that she intends her music to be defined as pop, she recently stated in an interview that she and her sister had an argument on defining her genre of music. This statement allows discourse for what pop music could be seen as instead of its preconceived judgements. Personally, I don’t think there are any real rigorous rules that play into exactly what makes certain songs contenders for pop and what doesn’t.
Pop music inherently is passively consumed by the masses, yet this album goes against the grain. Redefining what people speculate her art to sound like is brave and assertive. These characteristics are integral to what defines a true pop star, but rather vital when it comes to being a successful female musician. A subversion of the narrative is risky; however, Rosalia manages to pull this off easily. Going exactly against what is pop right now is exactly the right attitude for a superstar to have.
The intentional disregard of what music is being put out, rather making her own space, is truly instrumental in depicting her artistic authenticity. Mainstream music over the years has lost its artistry in its saturation of condensed hits to be charted, yet Rosalia has always managed to create a space for pop music that integrates all the fundamentals — whether written or through its production.
In the time she was working on this record, she had just experienced a very public breakup with her former partner Rauw, which I think greatly enhanced the pure intensity felt throughout the album. The influence of heartbreak connected with the exploration of life’s complexities clearly shows why she must have been inspired by the truest factors of humanity: love, light, hope, faith. All these abstract emotions must be felt wholly, but one must feel the full conviction of their mirrored alternates (heartbreak, death, despair) to truly understand what it means to experience the beauty of its ameliorative presence.
“La Perla” is an amusing destruction of the antithesis of feminine energy — its abhorrent opposition, the masculine — and its everlasting effect on relationships. Rosalia cuts deep, expressing her personal distaste for her previous encounters with men, especially focusing on her last relationship: “An emotional terrorist, the greatest disaster in the world… He’s a pearl, no one trusts him… He’s a pearl, one to be very careful with.” These lyrics are like a knife alongside her vocal expansion and heightened with explosive production.
Rosalia pushes past ego in the creation of this album, relating her experiences with female saints and spending over a year dedicating herself to studying hagiographies whilst simultaneously learning 14 new languages. This is a tremendous talent, as she describes the process herself as quite tedious. Multitasking her written process with translation ensured that the music was also melodically fluid and sonically apprehensible. Rosalia pushes the boundaries of expression with just one language as she tries to convey her emotions and personal feelings, allowing herself to be understood through multiple tongues of speech.
Overall, LUX revolutionises whatever it means to be a pop album right now — a truly masterfully made project that displays the upward trajectory of Rosalia’s artistry and therefore her capability. The influence of her playful curiosity is what makes this album so great; her desire and willingness to continue to study, to learn, and therefore connect with people is what separates her from many.
The ability to sing in her own cadence consistently whilst singing in 14 different languages shows her undoubted passion to create and for her message to be truthfully conveyed. This extreme dedication to curating an album accessible universally is impressive. Rosalia continues to show that there’s no limit to your expansion not only physically but spiritually. Depicting that there is unity in difference in this social climate is a wonderful use of her gift.
Language is not only a vessel for conveying meaning but a way to understand someone’s inner workings. Language is a verbal art form, and Rosalia manages to encapsulate the beauty found within translating emotion. Learning the languages of the saints she sings about allowed her to not only experience their stories and their pain in a more personal sense but also allowed her to write with more conviction. To be an artist is to understand the fundamental concept that life itself is performative, art being the product of your living cost.
Fatima Mohammed
Fatsbloodehblog.com 
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