Charli XCX veers into her big pop era with CRASH
After years of being the face of experimental pop, Charli plays into conventionality on her new album
Music Reviews Charli XCX
With the release of “Vroom Vroom” in 2016, Charli XCX became the face of experimental pop. The sexy and over-the-top SOPHIE-produced track turned the singer-songwriter from an artist primarily known for her features on hits by Iggy Azealia and Icona Pop to one who would define the boundaries of popular music for years to come. “Vroom Vroom” gave way to the glitzy, bubblegum Number 1 Angel then the futuristic Pop 2. During the COVID-19 pandemic, she worked solo on the polarizing hyperpop-influenced work how i’m feeling now, a DIY album that pushed the limits even for Charli.
She’s always looked toward the future, which ultimately makes CRASH—a bombastic pop album emulating the sounds of the ’70s and ’80s—a disappointment. Charli is following the example of the greats on her fifth album: The influence of Madonna, Britney Spears, and Lady Gaga is obvious. But with that backward gaze, she loses what made her previous work so powerful, opting to instead sound like a weaker version of what’s already been done.
The title track kicks things off well enough: a high octane, hedonistic bop laced with recklessness. It’s reminiscent of “Next Level Charli,” inviting the listener into the album, with the exhilarating promise of high speed thrills. Then comes “New Shapes,” a straightforward, frankly forgettable single about being emotionally unavailable. With featured artists Christine And The Queens and Caroline Polachek, “New Shapes” stays one note, despite the switching up of who has the mic multiple times.
Throughout CRASH, Charli teases desire and intimacy with a razor-sharp edge. In “Constant Repeat,” she seemingly wants to be the focus of someone’s attention, hoping this other person is thinking abut her nonstop. Then there’s “Yuck,” an almost too-cheeky track about being turned off by all the otherwise cute things a suitor does. Self-destruction takes the driver’s seat on CRASH, as Charli grapples with wanting pleasure without an emotionally connection. These are self-aware songs, and the subject comes up often. On “Move Me,” she admits to undermining her best interests, just as she admits to hanging onto the bad boys in “Good Ones.” A sense of danger runs through feelings of isolation and gratification, and ultimately foretell of impending disaster.
While Charli may be playing with fire thematically and visually, sonically things tend to stay safe. In the videos and press photos, she’s glammed up to the gods, dancing on her own grave, and splattered with blood. With everything so big and audacious, promising not just a new era but something so subversive, most of the songs themselves fall short of those expectations—nothing too different from any Top 40 hit. There is a bit of Charli’s typical edge present, especially on tracks like “Move Me,” but many fail to grasp true pop bliss or something truly revolutionary. Even the soft, glimmering ’70s-influenced ballad “Every Rule”—a track in a style not often utilized by the singer—fears to stray into unknown territory.
Just as songs like “Used To Know Me” and “Lightning” stay the straight and narrow when it comes to pop offerings, “Baby” comes forth with urgency. Here, Charli taps into the crucial element of any great pop album: a sense of control. It’s gripping, sensual, and high energy, akin to Spears’ “If U Seek Amy.” Charli establishes that she’s in charge, with racy synths undercutting her as she says “Imma fuck you up.” It peaks on the bad girl energy that surges throughout the album. And if being bad is the most fun a girl can have, then these moments of naughtiness are the most fun spots on CRASH.
The lasting influence of disco and ’70s pop has lead to great contemporary albums by Dua Lipa, Jessie Ware, and Carly Rae Jepsen, who flirt with these sounds well enough for it to sound effortless. CRASH is not of the same caliber, with synth characteristics and basslines plucked from other works rather than transformed into new ideas. “Good Ones” and “Beg For You” sound lifted from hit pop singles of the early ’00s, giving a sense that Charli is cosplaying as a major pop star rather than being one. Rather than testing the trappings of pop, she’s stuck in them.
Overall, CRASH’s crystal clear production and iron-clad writing has all of the force behind it to propel the album into the stratosphere. But instead of putting the pedal to the metal in pursuit of a high camp sound, it stays in the slow lane. While it reaches the same destination—a mainstream pop album—it’s much less fun this way.
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“Boom Clap” was released in 2014 and is a platinum single that was heavily in the consciousness due to being associated with Fault in our Stars. She’s also written pop hits with “same ol love” by Selena Gomez and has credit on “Senorita” by Camilla Cabello and Shawn Mendes. She’s always experimented with her pop sound but, she’s had a commercial sound and more commercial success widen in that sound.
Which begs the question, what the fuck is experimental pop? Either its pop because it has hit he mainstream of popular culture, or its not. It is an ever evolving genre and has always been the place for experimenting with the next sound.
“New Shapes” forgettable? We must not have listened to the same track.I would say the hallmark of Charli’s work is her ability to marry nostalgic and futuristic influences. Obviously much of her other recent work’s production has focused on futuristic sound but that doesn’t mean that edge is gone from this 80s-leaning album at all. Rather, instead of creating brand new soundscapes she’s tinkering with familiar sounds just enough to trigger listeners’ nostalgia while also putting her own twist on it. “New Shapes” is a great example of this; its triplet-heavy melody sits almost awkwardly on the rhythm at first until your brain gets used to it. Then you can’t imagine hearing anything but that mega hook as the synths blast you.This reviewer also seems to have missed that “Beg For You” is actually an interpolation of September’s “Cry for You”. Charli pulls the same bait-and-switch on this track, invoking the nostalgic rush of that original earworm chorus (“you’ll never see me agaiiiiiin”) but flipping it with different lyrics and production so instead of being a cry of freedom the song becomes a plea for her lover to stay.Also surprising that the review didn’t mention this being her final album in her record label contract; in promo Charli has emphasized a lot that one of the themes of this album is the destruction of young stars being put through the major label pop machine. Ultimately I think this is yet another Charli project that will be misinterpreted by many, but probably reassessed years down the road once everyone else catches up to her. Disappointing maybe, but not surprising.
Agreed on all points. The sound is also much more influenced by late-80’s and 90’s pop…. not sure where the reviewer got the impression of 70’s and disco.
Agreed. There’s also no mention of the Robin S. moment either, and I think the album’s samples, specifically the women being sampled, are intentional and warrant discussion. This album is great; this review for me, regardless of its being on a different page, was less compelling.
This is also the only review I’ve seen drastically underrate the album! OP is totally entitled to their opinion, I just found it interesting. Maybe it hits different if you’re not that familiar with her work and influences
This feels more like the review than the actual review. New Shapes is a banger!
Baby? More like Baddie
I will say this, based on the two songs embedded in the story I appreciate that she keeps her songs tight & under 3 minutes
A common criticism of fans is that they wish her tracks were longer. She really knows how to leave you wanting more and keep you pressing repeat
check out Pinkpanthress. she makes great music that is only 1 1/2mins to 2mins long. definitely leaves you wanting more.
This reviewer is cosplaying as someone who has taste.
Wait…do you think this is a primarily 70s disco inflected album? The two major interpolations are 90s and 2000s house dance anthems. The imagery of the album is based on the movie Crash. There are a few moments of 70s synth funk similar to what Dr. L*** has been doing with Kim Petras (“Yuck”) and some faster tempo 80s post-disco (“Baby”). But Jessie Ware this is not. What is the point of a comparative critique if the references are not accurate?
I don’t know, I saw her SNL performances and Beg For You stuck in my head for days in a way very few pop songs of the last decade have. And if a 48-year-old suburban dad doesn’t know what’s cool, then nobody does.
YUCK, Angels this review is not it PERIODT. Someone wanted to be the bottom review on Metacritic me thinks