At first glance, this album could seem closer to a difficult scholarly examination than a new pop record by a musician who just had a last single featured an international pop star. Divided across 4 distinct movements and voiced in thirteen tongues, this is a breathtaking symphonic work exploring female mystique, spiritual ascent, and physical transformation, frequently by way of the prism of various female saints. The dissolution of a love affair—a topic treated with raw honesty elsewhere—is shot heavenward here, buoyed by the constant presence of a full symphony orchestra and input from a Pulitzer-winning composer within a long roll call of contributors. The pure daring by itself makes the work of other artists appear quite laughable.
Rising Above Scholarly Exercise
That Lux succeeds in transcend overly intellectual posturing feels nearly miraculous, with sole praise belonging to the artist. While this is not the first time project to blend historical sounds and the present, the ambitions are much greater on Lux, and the tightrope walk more pronounced. What truly elevates this fourth release, beyond its multilayered tunes, rich compositions, and inherent drama, is an essential spirit of fun. Much like the legendary artist at her height, you find a wondrous sense to the vocalist's voice that pulls the listener up in its tornado. Even when she's breaking your heart apart, the listener nevertheless want to stay right there through the ride.
A Prime Example of Exuberance
This exuberant spirit shines brightly during a stunning Italian ballad about a saint. It bathes in a string-drenched melancholy for more than four moments. Suddenly, all the music drops silent, to reveal there's a spontaneous giggle and a declaration before a hilariously over-the-top string crescendo thuds down with comedic impact. The song then segues into the frenetic single featuring galloping strings, an imposing choral group, and a surprise role from the artist Björk.
"The charm with Lux is that you never exactly know—or even wish to know—what it is going next."
Nearly each song concludes in a totally different point than where it started. One moment examines the transient trappings of celebrity with a featherlight symphony only to collapsing in digital chaos. Elsewhere, a cut echoing the artist's previous trap-infused style begins out dark and sinister, with prowling vocals, before fluttering flamenco handclaps and a heavenly choir enter to soften its jagged corners.
The Balance Between Art and Pop
Another crucial achievement on the album involves navigating the line between bold experimentation and broad appeal. It is little surprise that the album has become her highest-charting release to crack the upper reaches of major markets: at its core a suite of utterly catchy hits. A song sung entirely in English swells on a refrain that seems to gather more and more infectious melodies while it spins skyward. This feat gets echoed by another expansive track that grows and contracts, weaving layered tunes as an intricate tapestry.
- A dance-infused song charms with its playful, Disney-adjacent drama and a chant-along chorus.
- In its words, it shares with pop culture impact of contemporary breakup songs, eviscerating a former lover described as an "psychological terrorist".
- Throughout the album, the vocals have a sharp edge, akin to a fairy-tale figure hiding a blade: "Gold medal in acting like a motherfucker / You have the podium of disappointment."
An Opulent Banquet for the Ears
This album represents popular music on a grand scale, an ambitious reach for capital-A Art in an era of impending artificial sameness. It rejects self-absorption in favor of sublime transcendence, crafting a dramatic spectacle that skillfully manages its inherent excess. It is a deep source of hidden gems that takes patience to fully explore but never seem like a chore. Where other major pop albums of the year felt like a meager meal, Lux is a sumptuous feast at which the characters at it, some tipsy on sacred wine, flit between conversations about historical saints, the galvanizing sensation of soul-shattering grief, and common stories about useless partners. It is a contemporary theatrical production from pop's most restlessly inventive practitioner.
