Switched on Pop - Rosalía's 'LUX' brings the symphony to the club

Episode Date: November 11, 2025

Spanish pop star Rosalía is back with her new album, Lux. Over eighteen tracks, she trades in the dembow beats that filled her last record Motomami for maximalist orchestral sounds more in line with Björk than Bad Bunny.  The album is dense: there's four movements, thirteen languages, arrangements by Caroline Shaw, and a wide breadth of influences – from Benedictine saints to Patti Smith. But despite (or because) all of this, Rosalía has gone on record referring to Lux as, ultimately, a pop album.  That's where we come in. On this episode of Switched On Pop, Nate and Reanna put on their tour guide hats to talk all things Lux: its sonic genre-bending, Rosalía’s poetic lyricism, and her hyper-local flamenco influence.  Check out Bella Freud's interview with Rosalia on Fashion Neurosis Songs discussed: Rosalía – Berghain Rosalía – Bizcochito Rosalía – De Madrugá Rosalía – Mio Cristo Rosalía – La Yugular Björk – Joga Caroline Shaw, Roomful of Teeth – Partita for 8 Voices Rosalía – Sexo, Violencia y Llantas Rosalía – Divinize Rosalía – Porcelana Rosalía – Dios Es Un Stalker The Police – Every Breath You Take Rosalía – La Perla Johann Strauss II – The Blue Danube Drake – Push Ups Rosalía – Sauvignon Blanc Lady Gaga – Grigio Girls Adele – I Drink Wine Rosalía – Focu ‘Ranni Rosalía – Novia Robot Rosalía – La Rumba del Perdón Learn more about your ad choices. Visit podcastchoices.com/adchoices

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It's free for iOS users. Welcome to Switchnon Pop. I'm producer Rianna Cruz. And I'm musicologist Nate Sloan. So a couple of weeks ago, the Spanish pop star Rosalia released the first single off of her new album Lux. It was a track called Burgine, named after the famous Berlin Nightclub.

And when I heard that title, personally, I imagined like a sweaty techno-unz-unz club band. Oh, yeah. But instead, we got this. It's like if Ludwig von Beethoven rolled up to a Berlin techno club. I like that. Berguin is not unce-unce at all, really. It's more of an operatic, experimental orchestral hodgepodge that features leaders of the avant-garde pop space, Bjork, and Eve two more. And immediately, I think I speak for the both of us when I say, I had a hunch Lux, which is out now, as we speak, would be different than anything we've previously heard before.

Take one of the big songs from Rosalia's last record, Modomami, the song Bicochito. And compare it to, say, the track de Madrugha from Lux. Yeah, where Motto Mami found Rosalia experimenting and tweaking with the familiar sounds of regga tone and other Latin American music genres, what we just heard from Lux is something completely different, a mashup of classical strings, flamenco handclaps, and art pop vocals. This is a whole new thing. Yeah, the Madriga is just one of the 18 songs on Lux, and as you could tell, it's not just a just. the pop album by any means. It's a distinct evolution of Rosalia's sound. We have a record of dense maximalist and quite frankly obtuse music, equally indebted to the polymath Hildegarde von Bingen,

as it is to the concept of what Rosalia calls, quote, feminine mysticism. You know I'm here for any references to the medieval abbess and saints Hildegard von Bingen. So yeah, I'm so excited to unpack some of the sounds on this record with you. Yeah, you could spend months, I think, trying to parse everything that Rosalia sang on these 18 songs, both lyrically and musically. But here's where you and I come in Nate. At the same time, you know, she's pulling all of these disparate references. Rosalia has gone on record to say that she sees Lux as fundamentally a pop record.

So today, Nate, you and I are going to take a close listen to live. Lux. And in a way, we're going to be tour guides through this record, you and I. I love it. As a former New York City walking tour guide, I feel well prepared to, you know, wave my metaphorical red flag, gather everyone in the great hall of this album, and narrate everything we're hearing. So where should we start on this tour of Lux, Rihanna? Well, I think it makes sense to begin by laying out the facts of this record, of which there are many. I think one of the most notable parts of Lux is that there are in fact 13 languages sung on this album. Wow. She worked with the dialect coach to really get those pronunciations correct, and we hear

Ukrainian on Demaruga. She sings in complete. She sings in complete. Italian on the track Mio Christo. Mio Christo Piange di Amas. Moteauvene. And if that wasn't enough, she gives you Arabic on the

song that translates to the jugular. I mean, that is so impressive and maybe reflects some of Rosalia's classical training as a musician. You know, if you're someone who studies opera,

you have to learn how to sing in lot of languages because you're covering this vast operatic repertoire. But certainly that wouldn't include Ukrainian and Arabic. So she's going above and beyond here. And speaking of classical training, I think it's worth noting that within Lux's 18 songs, there are four distinct musical movements. Very reminiscent of the four movements that typically structure a classical symphony. I'm with you. Yeah. And I think part of that comes from her work with the London symphony orchestra on this record, in addition to the songs being arranged by the Pulitzer Prize-winning contemporary classical composer, Caroline Shaw.

That's Shaw's Partita for eight voices, performed by the vocal ensemble room full of teeth. And yeah, I think you can hear the kinship between the experimental adventurous sound of Shaw and what Rosalia is trying to do on this album. So pretty cool for her to bring her into the fold on this project. I agree. And there's other interesting people in the fold as well that I think should be of note. On the production front, Rosalia produced Lux with Noah Goldstein, who produced and engineered some of the most critically acclaimed albums this century.

I'm thinking Frank Ocean's Blonde. I'm thinking Kanye S. Yisys, Arcade F.Twires, the suburbs, F.K. Twigs, Magdalene, and so on and so forth. She also worked with Dylan Wiggins, one of the minds behind Rosalia's last record, Modomami, as well as records by Calliucci's Justin Bieber and Solange. So she's assembling a camp of musical geniuses for this album. Rosalia's School of Gifted Children. And that's

not even mentioning the musical inspirations, Rosalia has mentioned. You know, she talked to the New York Times pop cast about being inspired by the art pop visionary Kate Bush and Bjork, particularly her orchestral pop. So take all of that in. There's a lot. It's a lot we're going into this record with. Oh, yeah. It feels like I'm back in class. A little role reversal for me.

As a professor. Right. Exactly. So we've discussed this album's influences. We've discussed its collaborators, which means it's time to finally take it to the music itself. What is the album trying to say? What is the meaning of the record? What are we listening for today? I think the first lines on the album lay it out in pretty direct terms. Here's the beginning of the track. Sexo, Violencia, and Yantas, which translates to sex, violence, and tires. She sings, how nice it be to live between them both. First, I'll love the world, then I'll love God. So there's a dichotomy she's establishing in these opening lines. between heaven and earth, the sacred and the profane, the tangible and the immaterial, even pretty lofty themes. Exactly. There's a powerful juxtaposition happening here. And on this song, Rosalia is setting up Lux's construction. The album operates in this dichotomy, right? Two things opposed, yet serving the same purpose. And zooming in, I see similar splits happening with, within three separate aspects of Lux.

One being Lux's sonic palette, specifically the fusing of conventional pop music with the classical avant-garde. I think it's also happening in the record's lyrics, this juxtaposition of maximalism versus interiority. And then third, we have the album's accessibility. I think she's both reaching to the global pop canon while also keeping it hyper-local in her Spanish identity.

This is Hedy and I'm so into it, Rihanna. Let's start with the music, the sonics, how she brings these different sounds that seem like they shouldn't necessarily coexist into a cohesive hole. Where do we want to start? What track can sort of set us off on this aspect of our tour? I think we should start by looking at the third track on the album, Divenize.

So we have this piano pattern. You know, it feels like you're in the room. It's like an old piano and you're hearing the strings be pulled and you get all the sounds of sitting at an actual grand piano and playing. Yeah, it's close-miked. It's very immersive.

It's very tactile in this way. We play it one more time, Rihanna. Okay, there's also another kind of cool thing happening here, is that the song is in an odd meter. It's in like five, eight. One, two, three, four, five. One, two, three, four, five. One, two, three, four, five.

Which is very unusual because you usually get songs in four in the pop world. You know, maybe six, eight, maybe three. But five, that's very rare. And it's a little off kilter and it's a little weird. And it's already our first hint that, okay, even if this is a pop song, there's something a little off about it. You know, that really makes sense because when I was listening to the song, I was trying to count it out and I was having a very hard time. So it makes a lot of sense.

Yeah, this would be a tough spin in the club. Everyone would be like, wait, where's the downbeat? Where do I bump my head? So maybe because of this meter and because of the way the piano is produced, there's something menacing and dark to it, I think, as the song starts. And this is contrasted with Rosalia's voice, which is light and almost spectral. in a way. So moving into the chorus, something that I think Russell Leah is doing on this song, you know, I mentioned the word spectral

before, and I think her voice has this, he has, stay with me, theremin like quality. Which warbles in its high pitch, and it works in tandem with the lyrics that she's singing in English about ghosts. You know, she sings, this ghost is still alive, I'm still alive. And staying on the pop tip, I want to check out the chorus of the song. I use chorus very loosely, right? These songs kind of exist as like cinematic, I don't know, score-esque.

There's like motions to them, you know? We get this beat. That is like almost Jersey Club, but not quite. Like it feels like if like Apex Twin did like a deconstructed Jersey Club track. And she's performing this vocal effect that, almost sounds like the way a club DJ would chop up a vocal. Yeah. Except she's clearly not having it done to her.

She's performing it herself. Ha, ha, ha, ha, ha. Which is not easy to do. I can barely do it. But she really pulls it off. So we're like, I like that. We're kind of between the worlds of techno and opera and classical in this way that's very kind of destabilizing.

I mean, thinking backwards, it makes sense. I feel like that Berguyen was released as. the first single, you know, this bridging of techno and classical, this song feels very much in that vein. And while we have that juxtaposition of classical and club happening, we also have the juxtaposition of light and dark, you know, the spectral voice with the dark piano. And then in the chorus, these plucking violins come in, adding a little levity, which brightens up the song. So we're conflating the earthly with the sacred in these lines. in tandem with the music.

And divinize is one of the more conventional tracks on the album, but Rosalia employs the same formula on the following track, Porcelana. I got to say, picking a clip to play from this song was so difficult because there is so much happening. My listening notes for this song included lines like, what the hell is happening here? Slithering club music, incantation like Latin, flamenco, claps, castanets, question mark. Like, there's something so compelling about her ability on this song and others to bring together the conventional with some something so far beyond our purview of what pop music can be. Yeah, I similarly am pretty floored listening to this because we're not often tongue-tied

on this pod. Yeah. We're pretty quickly able to say, okay, we can hear this and this and that, and we're going to label this, that, and this really defies categorization in a way that pulls you into this world. That's something that you don't encounter very often. Nate's my pleasure

Yeah, this is like I'm like My valour And the D'olour Sipro vogue To appear Nate,

I'm freaking out This is I'm obsessed I'm obsessed. It's nasty Yeah This is like Hearing Nikki

Minaj Like rap over Ostravinsky ballet It's so, it's just blowing my mind

Take this part of the track Oh my God. Oh my God. Just when you feel like you couldn't be any more surprised, we get an auto-tuned mumble-rap feature over a timpony breakbeat. This is like mad science. But that's the thing.

Like there's surprises abound on this album. Yeah, maybe instead of the 808 bass, we're going to have the kettle drum as the new sound of pop in the late 2020s. I'm here for it, man. That is such a unique sound. So sick. The juxtapositions on Lux aren't only done musically. They're also done lyrically. There's literally a song on the album,

titled, quote, God is a stalker, which I think is an extremely powerful metaphor. Wow. I am delighted to tell you that there's another musical juxtaposition on this song, but we're also going to hear these lyrics that kind of give every breath you take by the police vibes. I'll translate them for you in a second. But my baby, I'll lock it down the clip. That's one of my favorite parts on the album. Yeah, I was just getting into my salsa bag there.

My hips were just, whoo. But it's okay. I'll lock it down. And let's talk about lyrics. I can do. I can handle it. The lines here are, I'm right behind you. I'm always waiting for others to come to me

and don't like pulling off divine intervention, but I'm going to stalk my baby to make him fall for. me. I am not, you know, super up on my theology. Likewise. But I think this is one of the more, you know, challenging aspects of the divinity is like, how do you square this idea with God being a omnipresence in every part of your life and also not, you know, wanting to associate God with the more unsavory parts of your life? And I think bringing it back down to earth a little bit, I mentioned, every breath you take by the police, I could see parallels in the lyrics of both tracks.

One of the fascinating things about every breath you take is that it's a song about stalking that has become one of the most beloved romantic anthems of the last half century. Perhaps God as a stalker will have a similar future. It will become like a beloved salsa track while we conveniently gloss over the troubling lyrics. Troubling or not.

this song has a compelling lyrical narrative and I think every song unlocks has a compelling lyrical narrative. I think that's part of what makes Rosalia such a talented and otherworldly artist. And I think she knows that. When I first heard the album, it was presented with a note

quote from the artist that the ideal mode of consumption was in a dark room with the lyrics and translations up to follow along as you're listening. And when you have an album with 13 languages on it, it makes sense. that the lyrics are very forward in the presentation.

Obviously, we're recording this under the bright lights of the home podcasting studio. But nonetheless, I love the fact that Rosalia has a whole recipe for, like, how you're supposed to consume this album. It's kind of like, to use another classical reference here, the Wagnerian concept of the Gazomte Kunstwerk. the total work of art. She's trying to control every element of your listening experience to completely immerse you in her world. Anyway, other lyrical dichotomies for us to tour, Rihanna? Yes, I think it's nowhere more apparent this dichotomy of the grandiose and the insular that my favorite moment on the album, I know I've said I've liked a lot of things on this album so far, but the crescendoing outro on the track that translates, translates to the jugular is my favorite part.

So in this section, Rosalia starts doing what I like to call like a lyrical nesting doll, where Thing A leads into Thing B and Thing B leads into Thing Z and so on and so forth. So she sings, I fit in the world and the world fits into me. I take up the world and the world occupies me. Then she starts to get into it, right? I fit in a haiku. And a haiku takes up a country. A country fits in a splinter. A splinter takes up the whole galaxy and so on and so forth. And the song builds and grows for over a minute as these timpani swell. And it's all cinematic. Then it gets to a point that I think distills the essence of what this album is really about lyrically. A golf ball takes up the Titanic. The Titanic fits in a lipstick tube, a lipstick

tube takes up the sky, etc., etc. But then she says, the thorn takes up a continent and a continent can't fit into capital H. Him. But he fits in my chest and my chest takes up his love and in his love I want to lose myself. There's a cliche maybe that song lyrics are like poetry. I don't think that's usually the case, actually. Lyrics are lyrics and they only work within the context of a song. But this is verging on poetry to me. These lyrics stand on their own as a mantra of how everything in the world is connected.

And for Rosalia, that all leads back to this divine presence. and that's pretty powerful. Yeah, at its core, this is a very poetic album, and it's an album about spirituality. You know, we talked about at the beginning of this album, how she says she wants to live between the earth and God. And here, in this section, she's saying that his love, God's love here,

is bigger than a continent, but also fits in her chest. It's so beautiful, it's lofty, it's profound, but it's also inherently a juxtaposition, right? the love that she receives is so massive, but it could also fit inside her chest. We finish this grandiose, beautiful section of the jugular with a moment of levity, a quote from poet and musician Patty Smith. Seven heavens? Big deal. I want to see the eighth heaven.

10th heaven. A thousandth heaven. You know, it's like break on through the other side. It's just like going through one door. Wow. I was not expecting to hear the gravely voice of Patty Smith here, much less dropping a reference to the doors, break on through to the other side. Somehow it is the perfect button to this moment. You know, we're getting really, really huge. And then Patty Smith comes in as like, seven heavens. Big deal. You know, like it really brings it down and grounds it. All right, we've toured through the sonics of Lux. We've toured through the lyrics.

Remind me, what's our next destination in this dense maximalist masterwork? I'd like to talk about Rosalia's scope of accessibility, but we're going to look at that after the break. Maria, you have a podcast now and you need to start acting like it. What's the first step as a podcaster? Well, you have to ask lots of questions. I'm Maria Sharpova, and I'm host. a new podcast called Pretty Tough.

Every week, I'm sitting down with trailblazing women at the top of their game to discuss ambition, work ethic, and the ups and downs that come on the path to achieving greatness. I have a few pretty tough questions for you. Okay. Ready? Ready. Do not sugarcoat something for me. No. No.

We'll dive into their stories and get valuable insights from top executives, actors, entrepreneurs, and other individuals who have inspired me so much in my own journey. Pretty tough is your front row seat to the women who have demonstrated the power in being unapologetic in their pursuits. I hope you'll join us. New episodes drop Wednesdays on YouTube or in your favorite podcast app. So in Lux, there are an infinite number of contrasts. We've talked about her dichotomy of musical light and dark, of lyrical, maximalism, and interiority. But I'd like to wind down our conversation by bringing it to Rosalia's scope of accessibility. With this record, she's connecting the world of pop writ large, as we know it, with her hyper-local experience and training.

First, I'd like to listen to some of the more accessible pop songs that can exist outside of the insularity of Lux. What I feel is going to be one of the more notable songs on the album, the track La Perla. So if you're on Los Albo Spanish speaker like myself, and you have the translations pulled up as you're listening to this, you would be surprised to read lines like, he's a pearl, a nasty piece of work, my personal favorite, national heartbreaker, emotional terrorist, world-class fuck-up.

I think that's a beautiful pre-chorus. It's such a contrast to the really bright, cheery waltz time, musical accompaniment. It sounds like you should be singing about like holding hands in a field of daffodils or something, not calling out someone for being an emotional terrorist. Yeah, I was imagining this to be like a ballroom dance, you know. Totally. I hear it in a large acoustic room, you know, bouncing off the walls, people doing waltzes on the dance floor. Yeah, it's got that Strauss, like, blue Danube waltz kind of feel.

And then on top of that, it's just exoriation of presumably, I would think, an X. Well, and this is why I think this track would be of interest to you, Nate, right? Because last week, you spent the entire episode of Switched on Pop talking about revenge songs. I thought you're going to say it's because I'm an emotional terrorist and inveterate fuck-up. So, okay, yeah, yeah, yeah. Okay, I'm with you. I'm with you. I see La Perla as essentially a revenge song slash dish track against her ex-fiance and Puerto Rican reggaeton superstar Raul Alejandro.

Did they ever have a collab together like Kate McCray and Kid LaRoy before their acrimonious breakup? They did, in fact, they had the EP RR featuring songs like Bezo. Yeah, I feel like this is increasingly a big. phenomenon in the pop world. You have a high-profile breakup and then you write a song that drags your X through the mud. So even though the accompaniment might not be what we expect, I totally see what you're saying. Like this is super accessible, super following the contemporary pop playbook. Yeah. And I think if you look closely, there could be lines that explicitly mention Raoul, like, I think of this line in particular.

So, okay, the lyrics here translate to the rip-off king, he sells himself short. And I hate to disvestigate. I'm sorry, do you say disvestigate? D-I-S-Vestigate. Is that a, in the lexicon or did you just coin that? I'm inventing that right now. Wow, great. I think it's got legs. Okay, disvestigate. The line, the rip-off king could apply to Raoul because his past two albums have been these tributes to old school New Yorkan salsa.

Specifically, the title, Cozanne Ustra, which is a Willie Colon album. And there's covers on Cozsaint-Nuestra of Frankie Ruiz's Tukonel. I don't know. I see a little something there. Maybe I'm grasping at straws, but I think maybe she's calling attention to the fact that he's like taking his whole aesthetic from older stars, the rip-off king. And then if that wasn't enough, she continues to say he sells himself short. And when I look up Raul Alejandro's height, it says he's five foot eight inches tall. I think in many people's eyes that is in fact short, but I'm five, six. So maybe I'm stones and glass houses, you know? Yeah, I mean, if you're going to have a disc track, you're going to have to talk about the person's height.

Just ask, you know, Drake, that was about the only ammunition he had against Kendrick, I feel like. You won't never take no chain off of us. How to fuck you be stepping with a side stepping man's on. Low blows. But targeted disas aside, you know, I could disvestigate the song to death. But I think ultimately the song's power is, as we've been talking about, it's conventional lyricism, the way that it plays. itself in the modern canon of revenge music la Taylor Swift, or as we talked about last episode, Tate McCray. Musically, she also situates herself excessively. I think of what I find to be the most simple

construction on the record, the track Solvignon Blanc. Classic ballad. Yeah, so help me with these lyrics, Rihanna, because if I've learned anything from this album, I have a feeling this song is not just about the white wine, Sauvinan Blanc. I don't know. I feel like maybe this is the closest thing that presents itself

as what it actually is. But I don't know, maybe I'm thinking too literally here. Maybe this track is the musical equivalent of a de jesterif, you know, just something to sort of clear your palate so you can dive back into the heady, classical techno mashups that await. Absolutely. I think this track is a vocal showcase. And I think in the contemporary pop front, it falls in a long lineage of wine songs from pop stars.

You know, I think of Lady Gaga's Grigio Girls. I think of Adele's I Drink Wine. Now I only soak up wine. It places itself in that canon, which, intentional or not, comparisons need to be drawn. I really want to come up with another example of this lineage, but all I can think of is Big Sean's Marvin and Chardonnay. And I don't think that's entirely appropriate. Red wine supernova, Chapel Rome. Ah, okay.

See, that would have been better. Okay, I'll get them next time. Nevertheless, your point is well taken, Rihanna. Sometimes you just need to flex your vocal skills a little bit. There's parts of this that feel almost like a flex. She could do simple as well as she can do maximalist terrestrial spiritual compositions. And when she's not doing that, she leans on her voice and gives her voice a chance to shine. Damn.

And also echoes her flamenco training and the sound that we heard and her breakout album El Mal Carrere. especially a song like Malmante. I'm so happy you mention that, Dave, because it leads me to the final point of this larger juxtaposition between contemporary pop and her hyper-local sensibility. Something I love about Lux is the use of Rosalia's experience and knowledge as a Spanish artist, classically trained in flamenco music. And there's hints of flamenco all over this record. I hear it on a track like Noviya Robot. That's a kind of flamenco poppy hybrid.

I hear it on the song Fokurani. Oh, so good. And on songs we've already talked about today, like porcelana. Those hyper-syncopated handclaps that we hear in each of those examples, that might be one of the signature sounds of Rosalia as an artist and provide some kind of continuity throughout her discography from album to album. Even as she drastically changed her sound over the course of this. incredibly complex and dense album,

Lux, you know, in a way that that hand clap is like another one of those bodily, earthly, grounding things that grounds her to her own roots and her own musical traditions and grounds us as listeners in a way. I like that. And she grounds us further with an actual flamenco track through and through La Rumba del Pernon, aka forgiveness Rumba. Later in the Later in the track, a full chorus comes in.

The timpani is back. Unreal. This is such a cool place to end our discussion. And to be clear, this is not the end of everything we can say about this album. We haven't even gotten to every track. We haven't even gotten to every part of every track. There's so much going. on here. This is just our initial tour. This is a tour through some of the highlights, some of the

paintings and statues on the wall of this album. Absolutely. But I do like ending with the flamenco because that is, you know, something atavistic, I think, for Rosalia and her work, something that is a core element of her sound. And I feel like I want to ask a question at this point, which I'm a little chastened to ask because it's so basic. in response to this, like, masterful album that we've just been talking about. But I'm curious, do you think there's a hit here? Like, is Lux going to burn up the charts? Are we going to be blasting these tracks out of our car stereos and getting down

and, you know, our Berlin nightclubs to these songs? What do you see as the sort of function of this album, Rihanna? I think this album is a showcase for the timpity. No, I'm just kidding. The thing is, I don't think this album will be a chart success. You know, I think it will be very successful critically, but commercially I'm uncertain. At the same time, I think part of the point of this album and Rosalia's ethos with Lux might be to not be commercially successful. I think part of the album's purpose is to serve as an antidote for a lot of problems that plague modern potlux.

music. You know, I think of passive listening. I think of songs that are designed to be clipped on TikTok. In contrast, Rosalia is literally saying, sit in a room in the dark, no external stimuli, and listen while reading the lyrics. I think ultimately it's a record for listeners. And I say that, like, capital L listeners. I think it will connect with people that are comfortable with musical and lyrical juxtaposition. And I think it will connect. But, but with people like you and I. I like that, Rihanna. I appreciate an artist who is willing to challenge their audience.

And I'm thinking of something you told me that Rosalia said on the New York Times popcast, which is that she'll be kind of glad if this record alienates people. This isn't supposed to be a comfortable record. It's supposed to unsettle you and make you think. And yeah, I think that's really essential at this moment when our brains are being rotted away by AI and social media. Yeah. Yeah. Rosalie is like, no, no, I'm here to keep your minds sharp.

I'm going to throw a lot at you and challenge you to keep up. And there's something really refreshing about that. It's an innovative album. It's a boundary pushing album. And I think fundamentally it's a divinely beautiful album. All right, we've made some passing references to Caroline Shaw, Stravinsky's right of spring. But I think there are so many more classical references here that we've just skimmed the surface of. And as a classical head, I guess, I'm super keen for our listeners who might have their own classical background to chime in.

What else are you hearing here? Was there a little Carmina Burana in one of those tracks? Was there a little Viennese waltz? Like, let's get the compendium of classical references on Lux going. You know where to find us at Switch on Pop on social media. And tell us what you're hearing you. As a non-classical head, I am ready to be enlightened. Switch on Pop is produced by Rihanna Cruz, engineered by Brandon McFarland,

edited by Lissa Soap. Illustrations by Iris Gottlieb. We're a member of the Vox Media Podcast Network and a production of New York Magazine and Vulture. And you can subscribe to Vulture and all of New York Magazine by going to nymag.com slash pod. Like you said earlier, Nate, find this on social media at Switched on Pop.

Even though I said social media was riding our brains, our platforms are an exception. Yeah. So, yeah, do check us out over there. Sit in a dark room and think about this album. And then when you're done, turn the lights on and find us on social media at Switched on Pop. Exactly. Check out our YouTube channel where we post videos of our interviews and our lovely conversations

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