Charli XCX, ‘BRAT,’ June 7, 2024
I think the apple’s rotten right to the core
From all the things passed down
From all the apples coming before
I split the apple down symmetrical lines
And what I find is kinda scary
Makes me just wanna drive
Charli XCX’s sixth studio album, BRAT, is a record that embraces the complexities of modern pop stardom while challenging the conventions of the genre; it’s an artwork that redefines what pop music can be. Charli XCX has described the album as her “most aggressive and confrontational record,” yet simultaneously her most vulnerable; a manifesto of raw truths and unfiltered emotions, navigating the intricacies of fame, friendship, femininity, and self-discovery. The album’s title itself, BRAT, suggests a rebellious and contentious attitude, which is reflected in both the music and the lyrics. One of the central themes of BRAT is female empowerment and self-expression, where Charli XCX dismantles stereotypes and redefines what it means to be a pop icon in the 21st century. The album explores emotions often brushed aside, such as grief, jealousy, and insecurity, with a candidness that resonates deeply with listeners. This thematic depth is evident in tracks like Sympathy is a knife and I might say something stupid, where Charli delves into her insecurities and industry rivalries. Charli XCX’s lyrical approach in BRAT is direct and conversational. She has stated that she is “over the idea of metaphor and flowery lyricism” and aims to say exactly what she thinks, the way she would say it to a friend in a text message. In Girl, so confusing she delves into the complexities of friendships in the spotlight, questioning the genuineness of connections versus strategic moves. In Apple, Charli contemplates her strained relationship with her mother and worries about the “rotten right to the core” generational trauma that’s been carried down to her. Driving is often a theme in Charli’s music, and in Apple, driving serves the same purpose as partying to Charli: escapism. So I, a tribute to Charli’s late collaborator SOPHIE, blends grief with admiration, showcasing Charli’s ability to convey deep emotions through her music.
BRAT is a sonically rich album that draws influence from the 2000s English rave music scene, with a more aggressive club sound than Charli’s previous album, Crash. BRAT embodies a paradoxical blend of hyperpop, electropop, and electroclash, providing a soundscape reminiscent of 2000s-era Ministry of Sound compilations. Charli XCX has worked with a tight collection of sounds to create a unique minimalism that is both loud and bold. A.G. Cook, Charli’s longtime executive producer, brings his shimmering arpeggios and countermelodies to a majority of the songs. Tracks like Von dutch and 365 pulsate with energy, showcasing Charli’s ability to create infectious hooks that stick with you long after the song ends. B2B features a segment where Charli’s voice loops “back-back-back” over a blurping bass, trap beat, and woozy, careening synthesizers, creating a mesmerizing and hypnotic effect. BRAT is a testament to Charli’s ability to redefine pop music continuously. The album encapsulates her journey from the underground London rave scene to the pinnacle of pop innovation, bridging the gap between commercial success and artistic authenticity. It’s an album that challenges listeners to reconsider the conventional boundaries of pop music while celebrating the vibrancy and diversity of Charli’s creative vision.
Always on my mind
Your star burns so bright
I was scared sometimes
You had a power like a lightnin’ strike
When I’m on stage, sometimes I lie
Say that I love singin’ these songs you left behind
And I know you always said “It’s okay to cry”
So, I know I can cry, I can cry, so I cry
Clairo, ‘Charm,’ July 12, 2024
What is it that’s keeping one foot out
And the other crawling in bed?
And what is it that’s keeping you alone
And leaving after we slow dance?
And, too, when candles burn out and the record is faded down
I know you’ve got people to turn to
Clairo’s third studio album, Charm, marks a significant evolution in her musical journey. The concept of Charm revolves around the idea of being charmed by someone or an object, a theme that Clairo explores with a nuanced understanding of human emotions. The album’s title is a nod to the saying “the third time’s the charm,” reflecting Clairo’s belief in the transformative power of her third album. Clairo herself has described the album as an exploration of moments that were never fully lived out, capturing the gray area of emotions where one knows enough about a person to like them but still lacks complete information. The themes of Charm are deeply personal, focusing on introspection, growth, and emotional vulnerability. Clairo navigates the complexities of relationships, self-discovery, and the ever-changing landscapes of young adulthood. The album delves into the feelings of longing, desire, and the bittersweet nature of fleeting moments, making it a relatable and poignant listening experience. The lyrics in Charm are a blend of poetic musings and candid confessions, capturing the essence of her experiences and emotions. For instance, in Glory of the Snow, Clairo sings, “I pull on the string that binds me/ To memories of the way I loved you,” a line that encapsulates the act of songwriting as a means of processing emotions. The album’s lead single, Sexy to Someone, is a candid exploration of the desire to be desired, with Clairo openly expressing her need for validation and connection. Musically, Charm is a rich tapestry of ’70s-inspired grooves, seamlessly transitioning between jazz, psychedelic folk, and soul. The album’s composition is characterized by its warm, lush melodies and intricate arrangements, creating a soundscape that is both nostalgic and contemporary. Clairo’s use of instruments such as the Wurlitzer, mellotron, organ, and piano adds depth and texture to the album, enhancing its overall sonic appeal. Tracks like Nomad and Slow Dance exemplify Clairo’s ability to blend different musical styles effortlessly. Nomad features a wistful steel pedal and velvety vocals, while Slow Dance navigates the nuances of a situationship with airy vocals and a twinkling piano. The album’s penultimate track, Glory of the Snow, channels the effervescence of artists like Harry Nilsson, with cheery woodwinds and echoing keys creating a whimsical atmosphere.
And if you need to disappear
You’ll have no reason to be sad at all
You’ll strike your own matches to logs
May catch an eye while you play sad and soft
Cassandra Jenkins, ‘My Light, My Destroyer,’ July 12, 2024
Cassandra Jenkins’ third studio album, My Light, My Destroyer, is a profound exploration of the dualities of existence, seamlessly blending themes of love, loss, and cosmic wonder. The title My Light, My Destroyer encapsulates the album’s central concept: the inseparability of light and darkness, love and destruction. This duality is poignantly expressed in the song Omakase, where Jenkins sings, “My lover/my light/my destroyer/my meteorite.” The album’s cover art, featuring a pink and purple sky, further reinforces this theme, leaving it ambiguous whether it depicts a sunrise or sunset, symbolizing the cyclical nature of beginnings and endings. Jenkins’ exploration of these themes is not limited to romantic relationships but extends to broader existential questions. The album grapples with the human condition, the interplay of grief and awe, and the search for meaning in a vast, indifferent universe. This is evident in tracks like Devotion, where Jenkins opens with the line, “I think you’ve mistaken my desperation for devotion.” In Betelgeuse, Jenkins incorporates a field recording of her mother identifying stars, adding a personal touch to the song’s cosmic musings. Like her last album An Overview On Phenomenal Nature, Jenkins’ lyrics are often poetic and layered, blending personal anecdotes with universal themes. The album’s lyrics often oscillate between candid realism and figurative language, weaving together narrative and abstraction. For instance, in Delphinium Blue, Jenkins sings, “I got a job at the flower shop/I see your eyes in the delphinium too,” juxtaposing mundane details with evocative metaphors. Musically, My Light, My Destroyer is a diverse and cohesive work that spans a range of genres and moods. Jenkins’ background as a multi-instrumentalist is evident in the album’s intricate arrangements and varied instrumentation. The album’s opener Devotion builds from Jenkins’ low, velvety voice to a grand yet understated climax featuring strings, floaty background vocals, and soft horns. The album’s composition is marked by its dynamic shifts and eclectic influences. Clams Casino stands out as a zippy rocker with jagged electric guitars, contrasting with Jenkins’ typically whispercore vocals. Meanwhile, Delphinium Blue features a nearly all-electronic backing, showcasing Jenkins’ ability to pivot between styles while maintaining a cohesive sound.
Sea sick dawn
Come to tear off another page
Blink my eyes open
Punch the clock in the faceAnother formula
Everywhere I turn
Everything adds up
To your number