Polyglots and classical music lovers — come one, come all to listen to Rosalía’s holy grail album “LUX.” Her angelic voice soars alongside the London Symphony Orchestra as Catholic imagery and themes of divinity saturate her lyrics.  

Making history, Rosalía topped five different “Billboard” charts with this album. She made the list of National Public Radio’s “All Songs Considered” contenders for best album of 2025 as well. 

She sings in 13 different languages, including Italian, Catalan, Ukrainian, Arabic and Hebrew. 

Demonstrating her incredible artistic range, Rosalía seems to bring the whole world, all its sounds and all its divinity into this 49-minute and 35-second baroque album. 

“Sexo, Violencia y Llantas” opens with a reflection on how to blend mysticism with humanity. 

“Quién pudiera vivir entre los dos / Primero amar el mundo y luego amar a Dios,” Rosalía sings. 

She opens the album with a question, wondering in these lyrics who is able to live between heaven and Earth, who is able to love them simultaneously. 

An investigation of feminine mysticism, this album explores Rosalía’s own relationship with divinity and female saints. She mentions various female saints throughout the album, including Saint Hildegard of Bingen in “Berghain” and Saint Ryonen Genso of Kyoto in “Porcelana.” 

Rosalía’s globality in this album doesn’t end with her use of 13 different languages — even her meditation on divinity beautifully collages various global religions. 

Buddhism, Christianity, Islam and Hinduism all contain spiritual aspects that resonate with Rosalía, she said in a Nov. 8 interview with “El País.” 

Sufi Islam was a particular source of inspiration for Rosalía throughout the album, with the song “La Yugular” based on Sufi Saint Rabia al-Adawiyya, according to a Nov. 13 “Rolling Stone” article. 

“Reliquia,” the second song on the album, discusses leaving parts of herself around the globe and leaving an anonymous “you” with a piece of her heart. In Spanish, “reliquia” is defined as part of the body of a saint. 

“Coge un trozo de mí, quédatelo pa’ cuando no esté / Seré tu reliquia,” Rosalía sings. 

Translated, she sings, “Take a piece of me and keep it for when I’m not here / I will be your relic.” 

Given that this album reflects on the role of female saints, Rosalía here highlights the divine nature of her experiences and the way that she loves. Like a saint — though far from calling herself one — she leaves relics of herself with people in her life. 

Rosalía paints giving out pieces of yourself as a generous, strong act, rather than a self-depricating one. 

The song title “Divinize” plays on the  word “demonize.” Rosalía wants to seek out the light, divinize the world rather than demonize it. 

“Through my body, you can see the light / Bruise me up, I’ll eat all of my pride / I know that I was made to divinize / Outside me / Inside me,” Rosalía sings. 

In these lyrics, Rosalía’s celebration of female saints becomes incredibly evident. She highlights the fantastic quality these women possessed to sacrifice themselves for their religious beliefs. 

The corporeal nature of her lyricism also underlines the physicality of mysticism. “Porcelana” references Bernini’s “Ecstasy of Saint Teresa,” a painting famous for its orgasmic depiction of the mystic Saint Teresa experiencing a vision of God. 

Rosalía’s album is not only rich in religious themes, but in drama and artistry as well. Big names such as Björk and Yves Tumor join her on “Berghain,” and Rosalía trashes her ex-fiancé Rauw Alejandro in “La Perla.” 

Despite her anger towards whom she calls an emotional terrorist, Rosalía prizes light over anger. “La Rumba Del Perdón” comes back to the themes of generous forgiveness that color the album. 

“Toito te lo perdono,” Rosalía sings with Estrella Morente and Sílvia Pérez Cruz in “La Rumba Del Perdón.” 

Translated, that means “everything is forgiven,” the very sensation one gets in the final song “Magnolias.” 

Opening with a singular clarinet, this song sweeps into a slow, memento mori finale picturing Rosalía’s death alongside baroque themes of dust. 

“Yo que vengo de las estrellas / Hoy me convierto en polvo / Pa’ volver con ellas,” Rosalía sings.

Rosalía resolves the dissonance between heaven and Earth explored in “Sexo, Violencia y Llantos,” connecting herself to both stars and dirt in this final image, showing the cyclical relationship between the celestial and the earthly.

And so, “LUX” satisfyingly concludes, leaving the listener in awe of the mastery behind this album.