Charli XCX - CRASH

In the last couple of years, the resurgence of 80s pop has become widely popular within the mainstream. Artists such as Dua Lipa and The Weeknd successfully brought disco and synthpop back to the spotlight, and, naturally, many others started to replicate such aesthetic - Jessie Ware mastered it, Tory Lanez not so much. Now, for her last label release, Charli XCX decided to depart from the hyperpop sound that made her one of the most essential artists of her generation and jump into the throwback trend, but I’d say she somewhat did it in her own way.

CRASH marks the end of Charli's contract with Atlantic Records and, as she's previously stated, serves as a sellout era. She wanted to make a more commercial album, so the experimentation that made her previous releases so unique gives space to a more mainstream-appealing palette, as we could hear from the synthpop tinged lead single “Good Ones”, which isn’t necessarily a big issue since Charli's always been known as an insanely talented songwriter that has written numerous hit songs. The problem is though, that after putting out so many forward thinking bodies of work, this one feels like a step back. I’m not saying there aren’t great songs on here, cause her ability to create catchy pop tunes still remain, but not much stands out in comparison to what we’ve already heard from her.

Starting with the good, CRASH opens with the title track which is, in all honesty, a phenomenal pop song. The 80s vibe on this one is unmatched, the drums especially sound super retro, and that hook is super super catchy and euphoric. It sounds like a modern version of something you’d find on Janet Jackson's iconic 1986 album Control, which according to Charli herself was one of the biggest inspirations for this record. And the influence is very clear on the single “Baby”, that has a great guitar groove, an instantly memorable string passage, and one of the most addictive melodies on the album. Actually, I think a big triumph of CRASH relies on Charli's ability to write amazing melodies that will get stuck in your head for weeks. It’s what makes the electropop mid-tempo's “Constant Repeat” and “Move Me” stand out from the rest, because even though I feel like their smooth production could’ve used a bit more punch, the replay value is indeed there. The collaboration with emerging artist Rina Sawayama, “Beg For You”, samples the classic September song “Cry For You”, which makes the hook instantly iconic and nostalgic, and the production is kinda garage-y - not what we might’ve wanted or expected from the duo, but still solid regardless.

On the second half of the album, "Lightning" is the highlight. Even though it is a bit repetitive, it's the closest thing to Charli's previous work that we get here. She sings over this really quirky electronic beat that sounds a lot like the drop from AURORA's "Cure For Me", which surely is a weird sound but also feels very bouncy and uplifting. I also love how she plays with different vocal effects on this one, especially the vocoder on the pre-chorus, and those guitar touches that join on the post-chorus and bridge are especially captivating. Unfortunately though, things fall apart towards the end of CRASH, where the songs start to sound a bit more derivative and less charming. We get "Every Rule", that could be a lovely 90s ballad but ends up sounding boring and even annoying to an extent; "Yuck", which sounds like a Future Nostalgia leftover; the euro-house inspired "Used To Know Me", which honestly just lacks more personality; and "Twice", perhaps the most current sounding song on the LP, but it also isn't anything too special. 

For the most part, I'd say CRASH is a pretty solid pop album. It makes for a decent listen, but I wouldn't call it one of Charli's strongest efforts. I admire her for being able to craft a pop record that doesn't sound super generic, although it borrows from a trendy sound. But I also think it had potential to be way more interesting without necessarily leaving the commercial appeal behind. Overall, it's enjoyable and I'll definitely be replaying most of these tracks, but more because they're Charli's, not so much because they're particularly outstanding. [𝐁-]

BEST: Crash, Good Ones, Constant Repeat, Beg For You, Move Me, Baby, Lightning
WORST: Every Rule