In truth, you don’t need to know what’s going on to find Lux a truly compelling, involving experience. These are uniformly beautiful songs, filled with striking moments.

Music purists can entertain themselves all they like by debating whether this is “true” classical music. The rest of us can revel in what is possibly the best album of the year.

‘LUX’ may have only just come out, but, years down the line, it might be no exaggeration to describe it as a turning point in pop music.

In “De Madrugá,” the climax of the more personal first half, the character bolts awake in a cold sweat and the song only goes harder from there. .... The more philosophical second half begins with Movement III and “Dios Es un Stalker,” an alluring mix of the sacred and profane.

The fact that these flashes of “modernity” are rare in Lux makes them even more powerful; however, make no mistake: this is not an album of fleeting gestures or random insertions of new musical elements.

It’s not a dopamine machine like MOTOMAMI, but it rewards listeners who ache for more from pop artists: more feeling, more risk.

The record is in constant danger of toppling under its own weight. Thankfully, Rosalía largely manages to keep her head above the swell of her own ambition. Built on enormous waves of strings, brass, choir, thunderous kettledrums, bells and flamenco rhythms, it's a miracle just how nimble LUX sounds.