{"id":3734,"date":"2025-11-20T04:49:04","date_gmt":"2025-11-20T04:49:04","guid":{"rendered":"https:\/\/tmbglobal.news\/index.php\/2025\/11\/20\/rosalias-lux-highlights-her-mastery-of-songwriting\/"},"modified":"2025-11-20T04:49:13","modified_gmt":"2025-11-20T04:49:13","slug":"rosalias-lux-highlights-her-mastery-of-songwriting","status":"publish","type":"post","link":"https:\/\/tmbglobal.news\/index.php\/2025\/11\/20\/rosalias-lux-highlights-her-mastery-of-songwriting\/","title":{"rendered":"Rosal\u00eda\u2019s \u2018LUX\u2019 highlights her mastery of songwriting"},"content":{"rendered":"

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The cloying smell of cigarettes and poppers. The faint thumping of dark electronic music under the din of wannabe-socialites clamoring for entry to the club. Screaming arguments with your lover that leave you praying for God\u2019s intercession. Lead teddy bears with flaming brains, the resignation of sugar cubes dissolving in hot coffee. These are quick flashes of the universe that Catalan popstar Rosal\u00eda conjures on the song \u201cBerghain,\u201d which features Bj\u00f6rk and Yves Tumor and serves as the lead single for her brand-new album LUX<\/em>. <\/p>\n

To call the track eclectic would be an understatement \u2014 it begins its journey with Rosal\u00eda\u2019s operatic vocals soaring over strings in the style of Mozart\u2019s Dies Irae<\/a>,<\/em> makes a pit stop somewhere in the utopia Bj\u00f6rk sang about in 2017<\/a> and concludes with a haunting spoken word performance by Yves Tumor as claustrophobic beats close in. Despite the dizzying combination of influences, the song feels fully realized: Each progression is accomplished smoothly and naturally, each lyric is penned with purpose. The song ends exactly when it needs to, but every preceding moment is crucial.\u00a0<\/p>\n

This feeling of completeness hasn\u2019t always existed in Rosal\u00eda\u2019s music. Much of her earlier material, while maintaining its own merits, has been marked by her propensity to disrupt and truncate. Take the first song off of 2022\u2019s Motomami, <\/em>\u201cSAOKO<\/a>\u201d: the track\u2019s grinding bass and self-assured rap seems to establish a pattern for the first minute and a half before she throws it all out the window for an interlude featuring jazzy piano and spoken word. There\u2019s barely time allowed to process the whiplash before she does it again, returning to the anchoring beat and proceeding as if nothing has happened until the song comes to an abrupt end (fittingly, her final words on the track translate to \u201cget it up it and cut it, that\u2019s it\u201d). It\u2019s a great song, but it feels somewhat half-baked. While the musical ideas she introduces are interesting and unique, they aren\u2019t given adequate space to breathe before she throws something new into the mix.<\/p>\n

On LUX<\/em>, Rosal\u00eda breaks free from this pattern, flexing her muscles fully for the first time in her career. In an interview<\/a> with Zane Lowe for Apple Music, she described her intentions in creating the album.<\/p>\n