Charli XCX

Everything is consistently excellent. Also "Heatwave" is my jam.

It's almost as if... Someone made tumblr-pop that justified the adjectives and lurid colourscapes.

http://pitchfork.com/reviews/tracks/14932-various-artists-you-ha-ha-ha-lindstrm-remix/

Lindstrøm gives this shit a proper workout.

i really have no idea what to make of this album, like even whether i'm enjoying it or not

i feel like i'm on the brink of being completely YESSSSS THIS IS RESONATING DEEPLY WITH ME but i can't...quite...get...there and it's the kind of thing where if you're NOT on board emotionally it's kind of functionally useless

"you're the one" is a bit of a monster though

albeit i think i might like "you're the one" better if it didn't plunge shamelessly into its cheesy chorus?

the brooke candy verse on this is disappointingly terrible

have't heard the album but from the singles can attest that if you're on board emotionally they are the best ever

there's a vagueness that keeps me from being emotionally on board "you're the one" but that curving bass

really love the lingering the verses do on "you (ha ha ha)" too

Does she have her own "I Love It" on this? I am still curious to hear what she would have done with it instead of Icona Pop.

I'm into this newest single "what I like". she has a knack for cadence

streaming over @ pitchfork advance

This has very big Alisha's Attic vibes writ large all over it. It's a modern pop album that seems designed for people who grew up in the 90s, which is probably either really cute and endearing, or naff and silly, depending on your taste for talky-sung verses in the style of Siobhan Fahey when in Shakespeare's Sister.

Charli XCX herself seems very much a pop starlet for the twenty-something crowd, in the way she nonchalantly swears and sings about sexual encounters but it's all framed in this goth-pop cuteness with easy melodies and simple vivid imagery. I can see this album's relationship to 90's r&b being comparable to the way Anniemal took 80's disco and made it sound very pop but very chic, even though this is a lot more obviously dark and menacing.

aka the awful song with Brooke Candy made me nervous but I even don't mind that in the context of the album and You (Ha Ha Ha) is actually better than I remembered and the rest of it is great. The first three singles are still the best stuff here especially Nuclear Seasons but this is a pretty wonderful pop album.

as extravagant as charli's overload of stylistic reference points is, i don't think it's what's preventing this clicking for me - basically just don't think her songwriting is quite there yet. it's a bit overstuffed but the problem is less that and more her lack of a really distinct songwriting voice

or just, interesting words, or something

i think i'm the only person in the world that doesn't hate the brooke candy song. the second-to-last one "how can i" would be the dud if i had to pick one

You're not alone. Cloud Aura is one of her best. That said, True Romance is a let-down for me largely due to the production. My favorite track is What I Like, but even it has it's problems. Like why start of with a great intro that gets you all hyped up, only to never reference it anywhere else in the song? Still love it, but that's just one example of the many opportunities missed by this album. I expected it to be much more in the vein of Dance 4 U and Velvet Dreaming but the album's first half is like a 90's rehash of what Little Boots was doing with 80's pop.

I've been cool on her other singles but "What I Like" is marvelous.

this is awesome; the two-year-old songs thread in pretty seamlessly

weird but so far i prefer the album tracks to most of the singles (except "what i like" which wow). "like roses" and "take my hand" especially

black roses*

Really, really, really good record.

after seeing her live last week this album is finally seriously beginning to click for me

in a way i'm glad the singles never quite did it in isolation because i get to feel the rush of "YOU'RE JUST ELECTRIC BLUE" now instead

CUZ I CAN TASTE YOUR LIPS ON MY LIPS
YOUR KISSES TAKE ME OUT OF CONTROL
AND I CAN FEEL MY BLOOOOOOOOD
IT'S CRAWLING THROUGH MY VEEEEEEIIIIIIIINS

somewhere, shirley manson feels proud

brooke candy's rap on "cloud aura" is so so bad but the rest of it is so good

WHY YOU WANNA GO TO SLEEP
DON'T GO TO SLEEP
DON'T GO TO SLEEP
LET'S GO OUUUUUT

hmmm i gave this album a couple spins last week but i only actually liked about half of it (mostly the front half, but some later too), the rest just became this amorphous blur of whatever

it's taken me about a month and about...8 or 9 plays, i guess, to click

YOU'RE JUST ELECTRIC BLUUUUUUE is wonderful. all of this is wonderful.

except for brooke candy

Is "cloud aura" the same as on last year's mixtape?

yeah no changes as far as i can tell

"set me free" is ENORMOUS and shoulda been the lead-off single instead of "you"

I still don't get why "I Love It" didn't get the praise this is getting, I know it's noisy and brash but that's kinda the point?

This keeps getting better on repeated listens, it's not so much that it's a grower as

something else that I was thinking of how to explain before I hit enter, oops. It's like it's really simple but sticks way more than the disposable pop she clearly adores.

I love that mixtape so much but "Cloud Aura" wouldn't be the tune I'd carry over from it.

i never heard the mixtape - how does it compare to the album tim?

"i love it" is just completely rotten imo

I haven't heard the album so I can't compare - but the mixtape is shimmering cloud-R&B which by that description should be awful but actually is excellent - "Cloud Aura" is pretty indicative of the overall sound but there's some more discoid and/or balladic stuff on there and there's no other raps.

There are some songs down the end of Super Ultra that could have slotted in fine, on here but for the most part the album is much stronger, which of course it was always going to be given that it has all those pre-release singles on it.

I'm a big fan of "I Love It" (which has had plenty of praise, btw - perhaps not on ILX but certainly elsewhere), but it's not something that would gel with the rest of this record at all; too daphne & celeste / bananarama. it's pummelling, brash, throw-your-hands-up-in-the-air-sometimes sort of stuff; none of the songs on true romance even remotely approach that kind of aggression.

and yes there is a stray comma in that first sentence, oops

Yeah, "I Love It" would sound totally out of place on this but I think it's strange that there's so much dislike for it on its own.

"i love it" did really well on the ilm poll despite not being overwhelmingly praised here (and met with boos and hisses during the results rollout)

yeah i'd be interested to learn what is quite so rotten about "i love it" - as was mentioned upthread, obviously it's loud and obnoxious - but that's the whole purpose of the track, to convey that feeling of just not giving a fuck

I don't _love_ it as much anymore, but I like it in the same way I like Shampoo. And it's not like Icona Pop didn't sound more or less like this for years, so it's not like they "sold out" or whatever accusation you want to level.

at any rate this album is amazing. and yes, "Set Me Free" is massive but it doesn't seem to be the direction Charli XCX wants to go with her singles. alas.

(incidentally, the "Set Me Free" producer's best known for working with _Meds_-era Placebo, Sophie Ellis-Bextor, Nicola Roberts and Sohodolls, which is as good a triangulation [uh, with "tri-" replaced with "quad-" as necessary] of this album as you'll find anywhere.)

"i love it" feels clumsy and contrived and, crucially, totally unfun to me. i like don't-give-a-fuck music but it just repels me.

(katherine - picking up something i half-saw on twitter last night if i may, which is prob relevant here - your dislike of "tumblr" as a signifier. i'd say tumblr - regardless of the pockets of tumblr where this isn't the case - signifies decontextualisation above all to me, whether that's endless images/quotes plucked from the ether or the social justice kids or whatever...)

oh, and GREAT review btw

http://www.mtvhive.com/2013/04/23/charli-xcx-true-romance/

Nailed it for me!

my ranking is something like:

how i'm feeling now
brat
pop 2

(all the leaked unreleased material from the original version of her third album)

number 1 angel
crash
true romance
charli

sucker

I’m broad minded and variable in my preferences but on no planet is this album better than Pop 2. Maybe hifn is her best, depending on the day.

but overall I’m thrilled brat is so good we’re having these arguments in the first place.

i think pop 2 has higher highs in "backseat", "unlock it" and "track 10" but brat is just a better listen overall, it's a more relaxed vibe, no features, etc.

“von dutch” my favorite track on second listen. such a sick beat

It’s time to admit I was relieved to see no appearances by Christine and the Queens

I find them insufferable tbh

Oh boy, there's more!

Brat and it’s the same but there’s three more songs so it’s not - Out at midnight. pic.twitter.com/XFbOQsRqDX

— Charli (@charli_xcx) June 10, 2024

the bonus tracks are good but hardly feel like they really needed to be on the album or anything

"hello goodbye" is excellent though

I think both “hello goodbye” and “guess” are good enough for the album

i just mean that it's not like the crash bonus tracks which were better than most of the album, for instance. they're not a step down either

Aha nice, that electro-house-revival track with The Dare I posted a video too before is one of these tracks.

Yeah “Guess” has me flashing on the Ewan remix of “Perspex Sex” a bit

Don't get the reasoning for releasing a deluxe version of the album the same week as the regular version - or maybe i'm just too old

chart positioning

speaking of, new Pitchfork article on the deluxe notes:

the album has already surpassed 2022’s Crash as Charli XCX’s biggest streaming debut on Spotify; Brat had 15.4 million streams on its release day, whereas Crash racked up 5.9 million.

nice!

only managed a couple of listens so far. love it.

Feel like this album really has social media zeitgeist effects behind it in a way previous albums didn’t - though I guess Crash was not so long ago that if it couldn’t have benefited from that kind of thing as well in the right circumstances.

I think my favourite part of the album is the cut-up vocal on the chorus for “365” when it sounds like she’s singing “when I’m in the club - no I’m not”. A position I would hard identify with if it was what she was actually singing (it’s not).

I think my favourite part of the album is the cut-up vocal on the chorus for “365”

yes! all those little elements really work great on this.

apropos of nothing, I also thought the 'work angles' lyric in 360 was something about cankles.

i haven't really loved much that she's done since pop 2 but this album is great. the production in places has that same sorta airiness to it, tempos that almost remind me of like 90s atl bass music. when she sings "you gon jump cuz AG made it" on "360" it maps almost perfectly over missy elliott shouting "jazze made it! on "1, 2 step" ... this album has some of that like walking on air quality that i love about i.e. early ciara. and then for me some of the more harder, dissonant PC music stuff plays well as contrast, and there's a lot of effective hard/soft interplay for me between the beats and melodies on those records that i don't normally appreciate as much. something like "mean girls" having those house pianos that burst thru halfway thru etc

i also like a lot of the spoken word bits. it feels like she got to a place emotionally w/ this record that is resonating w/ ppl. i don't think honesty is the right word... emotional clarity? idk. but stuff like "rewind" or "so i" that are based on subjects (fame, death) that so often lead to mawkish music feel really deftly done to me here. for what she does i think she kinda knocked this one out of the park, shoutout to her. super fun show last night too

I can’t think of another genius level auteur operating in this genre/domain. Maybe only producers? Gaga probably but her music doesn’t speak to me like Charli’s. I guess Madge is the template but not quite the same.

xxp Though i figured i must be wrong, i kept singing "wear Kangols"

me too.

(all the leaked unreleased material from the original version of her third album)

does the Focus/No Angel single line up with this time? I still play that all the time, and I need to give those bootlegs a proper listen (the "XCX World" stuff, right?)

"no angel" and "girls night out" were definitely intended for the album but "focus" and "5 in the morning" were recorded a little later so i'm not sure if they were ever considered as part of that project. there's a lot of leaked material from 2016-2018 and it's not clear exactly how it all fits together - there was never a finalised tracklist or anything

dying at this post over in the old folks' home

https://i.imgur.com/U6sEUjz.png

yikes

Voom Voom

yes, famous 'back to basics rock and roll album Sucker by Charli XCX'

I can’t think of another genius level auteur operating in this genre/domain. Maybe only producers? Gaga probably but her music doesn’t speak to me like Charli’s. I guess Madge is the template but not quite the same.

― assert (matttkkkk), Wednesday, 12 June 2024 21:19 (four days ago) link

Let’s reign this kind of shit in a bit, can we ?

gee sorry, I’ll try to enthuse in a more measured way

is she really a genius? serious question

Genius ear for a catchy hook and the nous to match that with interesting and at times avant-garde pop producers.

I think True Romance was genius and everything afterwards has been various levels of good/OK. Oh, and "Dinosaur Sex" which seems to have disappeared from the internet

dinosaur sex appears to be floating around slsk, thanks