Born Rosalia Vila Tobella, ROSALÍA took the Latin music industry by storm with her hit album “MOTOMAMI.” Her album proved to be a worldwide success, debuting at No. 1 on Spotify’s Global Album Chart.
Though commercially successful, “MOTOMAMI” was considered more experimental than the previous works of ROSALÍA.
Her newest album, “LUX,” is a return to form that serves as evidence of ROSALÍA’s background in classical music and highlights the genius engineering behind her works.
“LUX,” released on November 7th, 2025, is ROSALÍA’s fourth album and features major artists and songwriters like Björk, Matt Maltese and Yves Tumor. Three tracks are exclusive to the physical version of the album.
The opening track is titled “Sexo, Violencia, y Llantas,” a piano ballad that slowly builds. The song centers on the artists’ feelings about mortality, humanity and the contradictory nature of reincarnation. Sonically, the piece is sweet, orchestral and pulses with ROSALÍA’s vocals until seamlessly fading into the next track, “Reliquia.”
The second song, “Reliquia”, is a beautiful exclamation of love. ROSALÍA pictures her life through memories associated with locations she has traveled to. Her lines recount when she found her courage, experienced heartbreak, lost her temper and cut her hair. Yet, she finds beauty in all of her life, as if montaged before her eyes. Although she lost, there is hope derived from experience: her hair will grow back, much like her trust and purity. When there is no life to turn to, it will still have happened. Her history is merely a flash of time, and yet, she is accepting and grateful for all of it, which is expressed through the choral section in the song, where instruments are stripped. The song ends with an exhilarating change of pace, transitioning into “Divinize”.
“Divinize” opens with an allegorical reference to Adam and Eve, characterizing the song as an age-old retelling of the suppression of women. This song is primarily in English, unlike the last two tracks. However, her storytelling is nothing short of brilliant and demonstrates feminine perseverance. ROSALÍA notes that she will persist in the journey of divination despite barriers that may ground her.
Following “Divinize” is the fourth track, “Porcelana,” which incorporates a heavy bassline and interjecting violin parts. This song is the first on the album to feature another artist, Dougie F. ROSALÍA yet again displays her multilingual talents in the Japanese verse, which depicts dichotomous feelings of fear and confidence.
The previous track ends in a rapid orchestral swell that is immediately contrasted by the soft and sweet vocals of “Mio Cristo Piange Diamanti.” This piece delivers powerfully supported vocals that carry throughout the simplistic soundscape. The emotional lyrics are tied to an unwavering dedication to an individual and mourning the shared pain you endured: the piece shares ROSALÍA’s idea of similarities between her lover and her lord. By incorporating breathtaking vocals and dramatic orchestral accompaniments, ROSALÍA can create an out-of-body listening experience.
“Berghain” is the only single on “LUX” and features Björk and Yves Tumor. ROSALÍA acts as a leading proponent of strict dedication, who is supported by Björk’s brief repetition of previously established phrases. The track is classically inspired but is disrupted by Yves Tumor’s entrance. They symbolize a lustful distraction that is exalted by rough vocals, changes in production & musical phrasing, and through vocal distortion that evokes sin. The most impressive feat of this track is the wildly quick violin solo that bursts through the background of the song. This track is the lead single for a reason.
“La Perla” begins as a simple waltz and showcases a softer, tranquil side of ROSALÍA’s music. However, the lyrics tell a different story: one about a man who is challenging to be around. “La Perla” is a recitation of ROSALÍA’s experiences with a man who is deceitful, untrustworthy, and an energy vampire. Much like this man, the track is easy to be encapsulated by and hard to move on from, because it is simply entrancing.
The following track, “Mundo Nuevo,” is a deconstructed piece showcasing ROSALÍA’s vocal run abilities. While less verbose than previous tracks, ROSALÍA pushes a hard-hitting message about the impurities of the world. In this song, she renounces the sin of the world and pleads for humanity and herself to start anew. She ends with a desperate message alluding to regrets she held about her first time living and how she wishes to change them.
“De Madrugá” begins with a repeating phrase meaning “at dawn.” ROSALÍA indicates that her symbol of faith, her cross, calibrates her body, showing her how to act. Her dedication is a form of control and restraint against the revengeful nature that rests within her spirit. The track ends in the same way it began, repeating “De Madrugá.”
Following “De Madrugá” is “Dios Es Un Stalker”, which roughly translates to “God is a Stalker.” Throughout the song, ROSALÍA writes from the perspective of God, who is a “stalker” for being all-seeing and all-knowing. Sonically, the piece is quite dynamic and features major shifts halfway through. Lyrically, ROSALÍA describes how God knows about people’s secret wants, challenges the concept of time, and waits for people to devote themselves to her. An interesting part of this track is the characterization of God as a “mistress” who acts as a desirable backup for people who pull her in every direction. ROSALÍA ends the track insisting on dedicating her energy to a single person, whose love and heart she will steal.
Fading into “La Yugular,” the record continues to impress with its seamless production tactics — the introduction of features, minimal instrumentation and strumming on every other beat. Shortly after, the waltz beat kicks in, accompanying ROSALÍA’s vocals. This track showcases ROSALÍA’s ethereal, soft vocals that float above the music. She switches between Catalan, Arabic and English frequently throughout the song. It seems as if the musical sections of the piece change with her. This track is ever-changing and unique; ROSALÍA strived to do more. The song ends with a powerful audio message that fades into “Sauvignon Blanc.”
The 12th track, “Sauvignon Blanc,” begins in a sweet sound. The track is immediately filled with subtle and gentle piano. “Sauvignon Blanc” represents a woman who wishes to live apart from materialism. ROSALÍA references “La Perla” in this song, stating that she doesn’t “want pearls or caviar anymore”. This is a more vulnerable approach to living her new life. I consider this song to be a breath of fresh air — it is light, clean and earnestly displays the vocal capabilities of ROSALÍA. Since the album’s release, I find myself streaming this track most often.
Next, “La Rumba Del Perdón” enters with great power. There is a stark difference between this track and the previous track. Storytelling is the central form of lyrical messaging on “LUX,” and this song provides the most evidentiary support of this notion. The lyrics are tales from a friend long forgotten, who is scarred from betrayal. This individual was wronged by someone close to them, and they address every fault of their betrayer. This is all a part of the betrayed friend’s process of forgiveness. From a production standpoint, this track is lively and is by far the most experimentally vivacious track thus far.
Following is “Memória”, a somber track that channels the feeling of someone forgetting or struggling to remember you. The vocal-heavy song is a beautiful ode that could be interpreted in myriad ways. I picture this as a shared feeling between former lovers. Both ROSALÍA and featured artist Carminho beg to be remembered not only for their talents but also for their character. Structurally, ROSALÍA sings the first two verses, followed by Carminho, who vocalizes the third verse and chorus. They then unite to sing the fourth verse before ending with the chorus. This track truly solidifies the strength, diversity, and intensity that are prevalent in “LUX.”
The final song on this album is “Magnolias” and features notable writers Matt Maltese and Sophie May. This swan song is a commentary on the death of the character we’ve been following throughout the album. After living a lavish life full of heartbreak and betrayal, she returns to a simple way of living. She forgives people of her past and only asks for her name and image to be upheld as she transitions into the afterlife. It only feels correct to end the album on a track like this.
Thanks to its record-breaking streaming stats, “LUX” may garner more support than all her previous albums. It’s a complexly crafted orchestral masterpiece filled with pleasant vocal thrills that everyone should give a spin.
