Rosalía’s LUX Reaches For Extremes And Mostly Gets There

ROSALÍA’s LUX runs 18 tracks and 60 minutes, and it wants to be both intimate and loud at once. That tension runs through the whole record, from the opening instrumental to the final ballad, and mostly it holds.

Opening Run

“Sexo, violencia y llantas” sets the tone fast, a blunt statement that cuts through any pretense of gentleness. “Reliquia” follows with a slower, more tender build that earns its place next to the opener. “Divinize” keeps the pace steady without adding much new, content to sit beside its neighbors rather than stand out. “Porcelana” shifts into something closer to a dance track, and it lands better than most of the middle stretch around it.

“Mio Cristo” slows the record back down, a quiet, reflective turn after the energy of “Porcelana.” “Berghain” picks the pace back up with a driving beat, though it feels less essential than the songs around it. “La perla” and “Mundo nuevo” form a pair of shorter tracks that move fast and don’t ask for much attention, serving as connective tissue rather than destination.

Middle Stretch

“De madrugá” is one of the record’s best moments, a brief burst of energy that feels urgent rather than rushed. “Dios es un stalker” takes a darker turn, and it lands well despite its title. “La yugular” stretches the runtime without adding much weight. “Focu ‘ranni” and “Sauvignon blanc” pass quickly, competent but forgettable, filler rather than statement.

“Jeanne” brings the record back toward the emotional core with a fuller arrangement. “Novia robot” and “La rumba del perdón” continue that path, both more interesting than the songs around them. “Memória” closes the main run of the record with a slow, atmospheric turn that ties together the record’s quieter threads.

Closing Pair

“Memória” works as a bridge to the final track, which closes the album on a note of quiet resolution rather than grandeur. It’s a fitting end to a record that spends its length moving between extremes.

Verdict

The strongest tracks here — “De madrugá,” “Dios es un stalker,” “Memória” and the closing pair — carry the record. The weaker ones, especially the middle stretch, feel like filler rather than necessary additions. The album’s ambition is clear, and mostly it delivers on it, even when the pacing dips.