"Before Beatlemania there was Lisztomania; before young people were grinding in clubs, they waltzed in beer halls and sang horny operas. The emotions may feel universal, but tastes evolve. Nothing's sexier than a 3/4 waltz one day, and then everyone decides to get down in 4/4 for a few hundred years. Like music, religion has a habit of changing with the times. Rosalía's LUX expresses a personal spirituality, inspired by her Catholic upbringing as well as classical philosophy, new age, Islam, and her unique relationship with God."
"In Don Giovanni, the titular villain gets out of danger time and again, until finally, he meets a force he cannot defeat. After he is dragged to Hell, the chorus sings, "Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual," ("This is the end of one who does evil, and for the wicked, death is like life")."
"The stakes are high; Rosalía's God can be a terrifying God, and He doesn't seem the type to "Kumbaya." At the beginning of Movement II, she feels Him breathing down her neck in "Berghain." Movement III opens with "Dios Es un Stalker" ("God Is a Stalker"), with lyrics both funny and frightening. God has seen Rosalía fall, followed her into dark corners, and watched her sin. While she can joke about it,"
Rosalía's LUX blends pop and orchestral elements to probe personal spirituality rooted in Catholic upbringing and influenced by classical philosophy, new age thought, and Islam. The record was made with the London Symphony Orchestra conducted by Daníel Bjarnason and engages with musical and philosophical history. The project parallels Don Giovanni's moral arc by placing protagonists in escalating moral peril and culminating in death. The work interrogates what becomes of someone who strives for good but yields to temptation. God appears as a complex, sometimes terrifying presence who watches, follows, and provokes both fear and dark humor.
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