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Initially, this work may look closer to an arduous scholarly examination rather than the latest pop record from an artist whose last single was a collaboration with a global K-pop icon. Divided across four distinct movements and performed in 13 tongues, it is a dizzying orchestral-influenced work investigating feminine mystery, spiritual transcendence, and bodily transformation, often via the lens of various female saints. The end of a romance—a theme treated with raw openness elsewhere—is launched upwards on this record, buoyed by the lush presence of a major symphony orchestra and contributions from an award-winning songwriter among a long roll call of collaborators. Its sheer daring by itself makes the efforts of contemporary pop stars appear rather laughable.

Transcending Scholarly Exercise

The fact that Lux manages to transcend overly academic posturing is nearly a miracle, and complete credit belonging to the artist. Although this is not the first time album to fuse historical sounds and the present, the stakes feel much higher here, with the tightrope walk far more precarious. The element that truly raises this fourth release, outside of its complex melodies, dense arrangements, and engrained theatricality, is an essential sense of joy. Much like the legendary Björk during her height, there is a wondrous quality to the vocalist's voice which sweeps you into its tornado. Even when she's tearing your heart apart, you still desire to stay right there through the journey.

A Signature Example of Joy

This exuberant energy comes forth brightly on the stirring Italian song about a saint. It luxuriates in a sorrowful whirlpool over more than four moments. Then, everything drops silent, to reveal there's a gleeful laugh followed by a comment prior to a hilariously exaggerated string surge crashes down with comedic force. The song immediately shifts to the frenetic single driven by racing orchestration, an imposing choir, and a surprise role from none other than herself.

"The charm with Lux is that you never quite know—nor wish to predict—where you will go to next."

Nearly each track concludes at a completely distinct point than where it began. A track examines the transient nature of fame over a featherlight symphony only to disintegrating in electronic chaos. Elsewhere, a song echoing the artist's earlier rhythmic work begins off dark and sinister, with menacing vocals, until fluttering flamenco handclaps and an angelic chorus arrive to soften the song's rough edges.

The Bridge Of Art and Accessibility

A key balancing act of the album involves straddling the line of bold innovation and broad accessibility. This is little coincidence that it has become her highest-charting release to crack the upper reaches of key markets: at its core a suite of truly catchy pop songs. One track performed entirely in English builds around a refrain that seems to collect more and more infectious melodies while it spirals skyward. That feat is repeated on another powerful ballad that grows and contracts, intertwining layered melodies like a complex tapestry.

• A dance-infused number charms via its jaunty, theatrical flair and an anthemic chorus.
• Lyrically, it shares with cultural honesty of contemporary heartbreak anthems, eviscerating an ex- partner labeled an "emotional terrorist".
• Throughout these tracks, the vocals have a sharp edge, like a storybook character hiding a blade: "Top prize in acting like a motherfucker / You've won the trophy of letdown."

A Maximalist Banquet for the Soul

Lux is pop on a grand scale, an ambitious grasp for capital-A artistry in an era of looming artificial blankness. It rejects self-absorption for glorious elevation, creating an over-the-top spectacle that masterfully controls its inherent ridiculousness. It is an abundant source of hidden treasure that requires time to fully explore but doesn't feels like a chore. While some major pop albums of the year seemed like feasting on meal, this record is a sumptuous banquet where the guests around the table, some intoxicated on sacred drink, flutter from discussions about historical saints, the profound sensation of soul-shattering sadness, and common stories about useless men. It is a contemporary theatrical production from pop's truly restlessly inventive practitioner.