{"id":12618,"date":"2025-12-12T22:34:11","date_gmt":"2025-12-12T22:34:11","guid":{"rendered":"https:\/\/fieldstonnews.com\/home\/?p=12618"},"modified":"2025-12-12T22:34:12","modified_gmt":"2025-12-12T22:34:12","slug":"pop-musics-next-transformation","status":"publish","type":"post","link":"https:\/\/fieldstonnews.com\/home\/2025\/12\/pop-musics-next-transformation\/","title":{"rendered":"Pop Music\u2019s Next Transformation"},"content":{"rendered":"\n

\u201cWho could live between the two?\u201d sings Rosal\u00eda as the opening lyric to her fourth album, LUX<\/em>. The quote references sitting between humanity and divinity, but also the threshold that she inhabits: the line that divides pop and alternative music. <\/p>\n\n\n\n

“LUX” is, simply put, a beautifully experimental project. Its fifteen tracks explore avant-garde pop through orchestral and vivid instrumentation; feature singing in fourteen languages, ranging from her native tongue, Spanish, to Sicilian and Mandarin; and tell the stories of Catholic saints that reflect her personal experience as a woman in the music industry. Aside from being an utterly beautiful and ambitious project, “LUX” symbolizes a broader shift in the music industry: one towards experimentation.\u00a0<\/p>\n\n\n\n

In 1991, “Nevermind,” “Achtung Baby” and “Dangerous” revealed that albums were shifting away from the glossy, synthesizer-full 80s sounds and into something stranger and progressive for the time. These sprawling works of art played with new genres for each artist, but also served as a way to bring experimental sounds into popular culture.<\/p>\n\n\n\n

“LUX” serves that same purpose as the three aforementioned 1991 albums, to show that we aren\u2019t in the midst of an arrival to experimental popular music, but rather a signal that we\u2019ve already gotten there. On a track like \u201cPorcelana,\u201d Rosal\u00eda smudges the border between pop and alternative as she merges baroque production and storytelling (she tells the tale of Japanese monk Ry\u014dnen Gens\u014d) with modern pop melodies; a method entirely new to the chart-topping and record-breaking releases. Speaking of record-breaking releases, this non-traditional pop record opened with an astonishing forty-two million streams, a statistic unheard of for an album of this sound. On another song, \u201cLa Yugular,\u201d she sings opera in Arabic, English and Spanish as she tells the story of Islamic Golden Age poet Rabia Basri and contemplates her love life. \u201cSauvignon Blanc\u201d is dedicated to Saint Teresa of \u00c1vila as she sings about giving up external wealth for internal richness.<\/p>\n\n\n\n

Rosal\u00eda isn\u2019t barging into the mainstream and saying that classical music should be a part of popular music; she\u2019s forming a turning point in music. “LUX” is a shift similar to what happened in the 90s: moving from polished, commercialized formulas to daring, uncharted territory. The people are once again ready for the change. As shown by the monumental streaming numbers, experimentation is no longer a niche pursuit; it can now thrive at the top of the charts.<\/p>\n\n\n\n

“LUX” is more than just a beautiful album; it is a harbinger of the ever-fading line between pop and alternative genres.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cWho could live between the two?\u201d sings Rosal\u00eda as the opening lyric to her fourth album, LUX. The quote references sitting between humanity and divinity, but also the threshold that she inhabits: the line that divides pop and alternative music.  “LUX” is, simply put, a beautifully experimental project. Its fifteen tracks explore avant-garde pop through orchestral and vivid instrumentation; feature singing in fourteen languages, ranging from her native tongue, Spanish, to Sicilian and Mandarin; and<\/p>\n","protected":false},"author":436,"featured_media":12619,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[319,435,318],"tags":[],"coauthors":[706],"class_list":["post-12618","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arts","category-culture","category-news"],"jetpack_featured_media_url":"https:\/\/fieldstonnews.com\/home\/wp-content\/uploads\/2025\/12\/Screenshot-2025-12-12-at-5.31.18-PM-e1765578708833.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/posts\/12618","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/users\/436"}],"replies":[{"embeddable":true,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/comments?post=12618"}],"version-history":[{"count":1,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/posts\/12618\/revisions"}],"predecessor-version":[{"id":12620,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/posts\/12618\/revisions\/12620"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/media\/12619"}],"wp:attachment":[{"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/media?parent=12618"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/categories?post=12618"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/tags?post=12618"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/fieldstonnews.com\/home\/wp-json\/wp\/v2\/coauthors?post=12618"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}