Initially, Lux could seem more like an arduous university challenge than a new popular music record by an artist whose last single was a collaboration with a global K-pop icon. Split across four separate parts and sung in 13 languages, this is a head-spinning orchestral-influenced opus investigating female mystery, religious ascent, and corporal transformation, frequently through the lens of different female saints. The end of a relationship—a topic treated with grounded honesty elsewhere—soars upwards on this record, carried by the constant sound of a major orchestra and work from a Pulitzer-winning songwriter within a vast roll call of collaborators. Its sheer audacity alone renders the efforts of contemporary artists seem rather laughable.
Transcending Academic Pretense
The fact that Lux manages to transcend dry academic posturing feels almost miraculous, and full credit going to the artist. Although this is not the first time project to alchemize the past with the present, its stakes are much higher on Lux, and the tightrope walk more pronounced. What truly raises her fourth release, outside of its complex tunes, rich arrangements, and inherent drama, proves to be a core sense of joy. Much like the iconic Björk at her peak, there is a captivating quality to the vocalist's voice which sweeps you into its whirlwind. Even when she's breaking your heart in two, you still want to be right there through the journey.
A Prime Moment of Joy
That playful spirit shines clearly during the stirring Italian song about a saint. It bathes in a string-drenched melancholy over more than four minutes. Suddenly, everything drops away, and there's a gleeful giggle followed by a comment prior to a comically exaggerated orchestral crescendo crashes in with comedic force. The song immediately shifts to the wild track driven by racing strings, a powerful choral group, and a surprise role from none other than herself.
"The magic of this album is that the listener never quite know—nor wish to predict—where it is going to next."
Almost every song finishes in a totally different place than how it started. A track explores the transient trappings of fame with a delicate orchestration only to collapsing in electronic cacophony. Another, a song echoing the artist's previous rhythmic work starts off dark and brooding, featuring prowling beats, until fluttering flamenco handclaps and an angelic choir arrive to soften its rough corners.
The Balance Between Experiment & Pop
Another crucial achievement of Lux is navigating the line between bold experimentation and broad appeal. It is little coincidence that it has become her first work to break into the upper reaches of key markets: at its core a collection of truly catchy hits. One track performed primarily in the English language builds around a chorus that seems to collect more and more infectious melodies while it spirals skyward. That feat is echoed by a different powerful track that grows and contracts, weaving layered melodies as an intricate tapestry.
- A waltz-like number charms via its jaunty, theatrical drama and an anthemic hook.
- In its words, it shares the cultural impact of contemporary breakup anthems, eviscerating an ex- partner labeled an "emotional terrorist".
- Throughout these tracks, the singing carry a sharp smile, like a fairy-tale figure concealing a blade: "Gold medal in being a motherfucker / You have the podium of letdown."
An Opulent Banquet for the Soul
Lux represents pop on a grand scale, a hungry reach for capital-A artistry in an era of looming artificial sameness. It eschews self-absorption in favor of sublime elevation, crafting a dramatic spectacle that skillfully manages its inherent excess. It is a deep well of hidden gems that requires time to fully mine but doesn't feels like hard work. Where other big pop albums of the year felt like feasting on scraps, Lux is a lavish feast where the characters at the table, perhaps intoxicated on holy drink, flutter between discussions about ancient figures, the galvanizing feeling of soul-shattering sadness, and common gossip about useless partners. It is a modern-day theatrical production from pop's truly restlessly creative practitioner.
