Release Date: March 18
Genre: Dance Pop / Electropop / Synth Pop
Modern pop queen Charli XCX is back with her fifth studio album. Over the past few years, Charli has made a name for herself by bringing us experimental, forward thinking pop tracks, often dabbling in hyperpop, noise and bubblegum bass. Those genres resulted in her music seeking an abrasive, glitchy gloss up on the projects Charli and how i'm feeling now, the latter of which I consider to be the first quarantine album of the 2020s, due to its recording history and themes.
Now, I like both of those albums. I think they have some catchy and enjoyable tunes, as well as some truly insane production. I don't think I've ever heard a pop song quite like "Gone" or "forever." However, I find myself appreciating the artistic statements of both of those albums more so than I enjoy the actual music. Don't get me wrong, there are some amazing songs on both of those albums. The kind of pop that Charli gave us with Charli and how i'm feeling now is simply outside of my wheelhouse. Hyperpop, as a genre, has always been pretty off-putting to me. The heavy buzzing synths and the wonky song structures get annoying really quickly, and that prevents me from enjoying other hyperpop acts like 100 gecs or SOPHIE.
With CRASH, Charli has simplified her sound a lot, harkening back to the synth pop of the 90s and 2000s. The production is a lot cleaner and nowhere near as in your face. Charli still has a strong presence as a performer, as she easily fits on each beat here. Now, the question is, how are the songs? Overall... they're pretty good. Flawed, but pretty good. Let's talk about them.
This album kicks off with the title track, which is fine. Like the previous two albums, the opening song acts more like an extended intro than a full fledged song, as it repeats a phrase over and over again, establishing the central themes of the album, while the production does its magic. The execution of the singing comes off a little clunky, but I like the smooth, funky melody. "New Shapes" features synthpop artists Christine and the Queens and Caroline Polachek. This song has a glorious synth melody that's simple, yet sounds so good. The three singers have excellent chemistry with each other, and that hook is infectious. "Good Ones" didn't initially impress me when it was released as a single, but I like it so much more in the context of the album. The groove is fantastic, and I love how thick the bass notes are. I also think this song has some of Charli's strongest lyric writing, as she talks about running towards people that are bad for you, and how dangerous, exciting and fun it can be. "I want the bad ones, 'cause they're all I know / I always let the good ones go" is some sharp writing, and I like it a lot.
"Constant Repeat" has a really cool skipping synth melody drenched in reverb, and I like how it subtly shifts as it gets to the chorus. It gives this song an epic, dramatic feel that I really dig. Then we have "Beg For You," which was my most anticipated single thanks to the feature. Rina Sawayama is one of my favorite pop artists right now, and I was excited to hear what a collaboration between these two women would sound like. Unfortunately, the song wound up being my least favorite on the album. The entire song sounds like its missing something. The verse melodies are awkward with their out of place "ah ahs," the breakdown at the end of the choruses are underwhelming and Rina is underutilized. It always bugs me when a feature is just slapped onto the second verse of a song without much thought into how that artist could enhance the song, and it's clear that that's what happened here. It's a disappointing song, to say the least.
"Move Me" is a decent ballad, but it doesn't do a whole lot for me. I like the verses and how moody and atmospheric they are, but my biggest problem with the song lies in the chorus. It promises a build to an explosion, but the climax is underwhelming, as it just repeats the main melody that was playing in the verses. Plus, the actual vocal writing of the choruses just doesn't sound right. Once again, Charli gives us a decent song that ends up being a missed opportunity.
Luckily, the next two tracks are, in my opinion, the two best songs on the whole album. "Baby" is easily my favorite single of the bunch. It's an absolute bop, as the disco infused beat causes me to dance to the groove each time. Match this with Charli's most colorful and charismatic vocals on the entire project, and you get one of the best pop tracks of the year. Then we have "Lightning," which has an amazing progression. I love the reverb soaked distorted guitar riff playing at the start. It's so atmospheric, and it sets up the tension nicely. The first verse, in which Charli describes an attraction so powerful it lifts her off the ground, is captivating in its writing and its delivery. I also love how the music cuts out at the pre-chorus, with Charli singing with heavy vocoder, ramping up the tension. But once she sings "you struck me down like lightning," the tension releases, giving us an epic electronic beat that sounds so heavy and groovy. It's an amazing development, and I can't get enough of it.
"Every Rule" is another fine ballad, but like "Move Me," it doesn't really add a whole lot to the album. If anything, this song has probably the most plain mix on the entire project. That doesn't make it bad, but it certainly doesn't make it stand out when compared to the other songs here. Following that is "Yuck," which is another great song. This track uses one of my favorite pop pastiches: a funky bass lick over a simple drum beat. It makes me bob my head with each listen. I also like the tone of the synths that play throughout the track. They remind me of the synths that are used on Gorillaz's The Now Now, specifically "Lake Zurich." It's a bop, and I love hearing Charli's sense of humor come through on this track.
Sadly, CRASH ends on a pretty weak note. "Used to Know Me" has probably the cheapest sounding beat on the entire album, as it sounds like a stereotypical track you would hear in any Hollister or American Eagle at your local mall. Plus, the way Charli sings "you used to know me, now you don't" is really annoying. It sounds like she's mocking me as she sings, and I don't like it. The album ends with "Twice," which is a fine closer, but once again, there isn't a whole lot to talk about or remember. I like how the flute sample interlays with the xylophone melody and the hook is decent, but that's about all I can glean from this song. It's certainly not bad, but it's not my favorite.
I like CRASH. I think it's a really good pop album full of great production, sharp songwriting and an electrifying vocalist helming the reigns. Now, this album has received criticism about it being safe and plain, especially when compared to her previous works. I can certainly agree with that to an extent, but I can't fully fault the album for it. Sure, it is heavily borrowing from pop's past, and it is not as adventurous or as bold as Charli or how i'm feeling now. There are two things I want to say in response to this. One, pop music has been borrowing from the past for a while now. Hell, every artist borrows elements from their influences. It doesn't make sense for an artist like Dua Lipa to get praised for making modern day 80s pop when we're criticizing Charli for making modern day 90s and 2000s pop. Besides, even with the clichés, I think Charli does a good job at making these songs sound like her. Two, and this is entirely my personal preference, I find myself gravitating towards the sound of CRASH more so than Charli and how i'm feeling now. That is entirely my opinion, and there are plenty of people who feel the exact opposite, which is completely fine. I just hope that those people realize the merits of CRASH, because it is a really good pop album. It's certainly not perfect, as there are a couple of duds here. Plus, I think she could have benefited from making the production a little bit more commanding, as a few of the ballads lack a punch. Besides that, I think CRASH will stand as one of the better synth pop albums of the year, and you should absolutely check it out. It's a lot of fun.
Best Tracks: New Shapes; Good Ones; Constant Repeat; Baby; Lightning; Yuck
Worst Track: Beg For You
Grade: B
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