Charli XCX Drops Exciting Third LP

Charli is a massive step forward for Charli XCX and yet another great record in modern pop music.

Charli XCX is a dance-pop singer/songwriter from Cambridge, England. Her first LP in 2013, True Romance was relatively well received by critics, though it found little commercial success. Nevertheless, she was able to try her hand at a second release on 2014’s Sucker, her first LP to enter the billboard charts. The album spawned two hit singles in the platinum “Break the Rules,” and the triple platinum smash hit, “Boom Clap.” Quickly, Charli found herself with significant clout as a rising star in the dance-pop genre with a couple of hits under her belt and a fair amount of critical respect to boot. Now, she’s back with her third LP, and her first release in five years, Charli.

Easily the largest improvement for Charli comes in her vocal. This is obvious from the opener, “Next Level Charli,” as well as in later cuts like “White Mercedes,” where stays in her upper register and belts out one impressive hook after another. This vocal skill was present on earlier works, but the sound of this LP is far more demanding, and so her improvements shine brightly.

This is helped by the simply fantastic melody writing across the entire album. Tracks like “Gone,” or “Official,” are some of the most catchy pop songs of the year thanks to dynamic hooks and genuinely interesting vocal lines. Even on the handful of tracks with structural or lyrical issues, these are easily ignored in favor of the singable melodies.

There are also more than a few strong features. Fellow dance pop artist, Yaeji, sings an intriguing, almost childish closing verse in Korean on “February 2017,” Troye Sivan pops up twice on the tracklist, both times showcasing great chemistry with Charli. None stand out quite as powerfully, though, as Lizzo’s powerful and hilarious verse on “Blame It on Your Love,” which features lines like “my body like a swisher just roll it,” and “I’m tryna catch millions, I ain’t tryna catch feelings,” just to mention a few.

Beyond this, the instrumentation is quite strong. Much of this has to do with unique choices in percussion as in “1999,” which ranges from classic trap snares to toned basses and creative natural sounds and samples. On the other hand, cuts like “Click,” feature active melodic instrumentation, mostly synths, which are daringly abrasive and distorted along with surprising samples from what sounds like 80’s video games. The instrumentation, on the whole, is lush, and challenging in a way that I certainly didn’t expect.

This is helmed by a grand, hands on production style which really brings the entire album together. This style is present from the rich mixes on cuts like “Warm,” to the overwhelming synths on “Thoughts,” which are reminiscent of vintage sci-fi soundtracks, or the powerful reverb and vocal effects on “I Don’t Wanna Know.” Each and every track is extremely well mixed and has an entirely unique, yet each bare the stamp of the album’s production style.

All of these elements come to a head near the end of the LP with some of the strongest, most experimental tracks. “2099,” is a great closer which sees the return of Troye Sivan and a handful of interesting instrumental choices. The most daring track on the album, however, is “Shake It,” which features howling synths, mind-bending vocal effects, and excellent stereo image. It’s these cuts which impress me the most on this album as the effort to add experimental flair to a traditional pop album is not only much appreciated, but extremely well executed.

As much as I love moments on this album, however, it does have a few weak points. Perhaps the biggest sin comes in the extremely repetitive lyrics and melodies on tracks like “Cross You Out,” and “Silver Cross.” Additionally, the lyrics leave a bit to be desired, touching quite a bit on similar subject matter and lacking in any interesting rhyme schemes or storytelling.

All together, though, Charli is an impressive record. With the five year gap between releases, Charli seems to have matured significantly, now ready to join the growing stable of creative artists who are quickly pushing pop music to its most intriguing point in decades.

Charli is a massive step forward for Charli XCX and yet another great record in modern pop music.

8/10

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Lana Del Rey Drops Uninspired Sixth Album

Norman Fucking Rockwell! Has a handful of pleasant elements, but ultimately it is poorly written, poorly performed, and just plain boring.

Lana Del Rey is baroque pop singer/songwriter from New York City. She debuted in 2010 with a self-titled LP which largely flew under the radar, but her 2012 follow up, Born to Die scored a platinum certification thanks to her signing with Interscope Records for the release. Since then, she hasn’t quite recaptured the success of her sophomore record, though her last three releases are certified gold and two have peaked at number one on the Billboard charts. She’s also landed a handful of massive performances like a slot at Coachella in 2014 and the Flow Festival in 2017, not to mention several successful tours. I must admit that I’ve never been a massive fan of Del Ray as I’ve always found her music to be a bit more aesthetic over quality. Unfortunately, Norman Fucking Rockwell! Is yet another example of this.

It’s not all bad! There are a few elements that I enjoy, and a key one is certainly the swelling strings which adorn the majority of the album. Particularly on the front end, tracks like the opening title track and “Mariners Apartment Complex,” feature orchestrated violins which bring a real sense of weight to songs which, otherwise, may fall flat.

In addition, there are a few enjoyable melodies to be found, especially near the end. Cuts like “Happiness is a Butterfly,” and the atrociously titled closer, “Hope is a Dangerous Thing for a Woman Like Me to Have – and I Have It,” have nice, ear-worm choruses that definitely linger in the mind long after the first listen. Without a doubt, the album could do with several more of these catchy choruses.

Easily the highlight of the LP is the genuinely great production from Jack Antonoff. The Bleachers frontman has recently made quite a name for himself in the world of production, and this project is no exception! A quick listen to cuts like “How to Disappear,” and “California,” gives a great taste of Antonoff’s care-free style. While there are a few nitpicks in terms of technical missteps, he makes up for this with a very natural mix which catches a lot of the small imperfections that make the instrumentals sound very natural.

Regrettably, none of this can save the album from the litany of issues which plague nearly every track. Perhaps the first downfall that a casual listener might notice is Lana Del Rey’s positively terrible vocal performance. Some of the worst examples come on “Love Song,” and “The Next Best American Record,” but on track after track, Del Rey acts as nothing but a wet blanket to the genuinely interesting instrumentals beneath her thanks to weak falsettos and a lack of any impressive power or range in her overall low energy vocal.

Beyond this, the lyricism leaves quite a bit to be desired as well. Songs like “Fuck It, I Love You,” and “Cinnamon Girl,” are filled with some of the most cliche and least interesting lyrics I’ve heard in a very long time. Her writing mostly consists of references to other, better songs and appeals to aesthetic which lack any real emotional weight. It’s a kind of faux depth which just doesn’t stand up to any thoughtful listen, but also keeps the record from being just mindless fun.

Worst of all, the album commits the cardinal sin: it’s boring. This is apparent on every single cut as they seem to build without ever reaching any climax or even mildly exciting moment. It’s painfully noticeable on her cover of the Sublime classic, “Doin’ Time,” as the spacey instrumental and Lana’s unenthused performance zap all the energy out of the iconic track. Perhaps the worst offender, however, is “Venice Bitch,” which, for reasons that I cannot fathom, runs for an entire nine minutes with only enough material to fill about three. The rest of the track is just middling, directionless strings and a repetitive chorus.

All in all, Norman Fucking Rockwell! Feels like a disappointment. As I said, I’ve never been a Lana Del Rey fan myself, and so this may be exactly what fans were hoping for. But, for my money, there are several artists working today to execute this sound far better while eschewing the faux-vintage aesthetic which drips from every second of the LP.

Norman Fucking Rockwell! Has a handful of pleasant elements, but ultimately it is poorly written, poorly performed, and just plain boring.

Taylor Swift Returns to Form With Her Seventh LP

Ultimately, Lover is everything fans could ask for from a new Taylor Swift album and just a bit more.

Taylor Swift needs very little introduction at this point. The pop singer-songwriter from Reading, Pennsylvania has become something of an icon in the genre and has likely done more than almost any other artist to shape the current landscape of radio pop. Prior to this newest release, the six LP’s to her name thus far have netted about 42 platinum certifications with 2008’s Fearless being one of the few albums to ever reach diamond certification. That being said, the last year has been something of a rough time for Swift. She left her longtime label, Big Machine Records only to have her music bought out from under her by longtime enemy, Scooter Braun and her most recent release, 2017’s Reputation was her least successful to date, both critically and financially. With all this piling up and the pop landscape shifting drastically below her, Taylor needed a win and she got it in Lover.

If anything, this album is a testament to Swifts ability to process criticism and improve because of it. Where her previous release was entirely too dark and lifeless, Lover is a blast! Tracks like the opener, “I Forgot That You Existed,” “Paper Rings,” and the better of the lead singles, “You Need To Calm Down,” will have longtime fans and casual listeners alike dancing immediately. It’s a stark contrast and absolutely the right choice for Swift as its her ability to write feel-good jams which has delivered her lasting status in the industry.

That ability hinges, above all else, on excellent pop songwriting. Songs like “Death By A Thousand Cuts,” and the album’s title track feature tight rhyme schemes that color in nearly every line with exciting moments. It’s the care she puts into every couplet which has garnered Swift such a reputation as a songwriter. Though most of her writing isn’t life-changing or especially moving, it is tight, catchy, and dynamic.

Unfortunately, this talent seems to fall apart on a handful of tracks. “The Man,” and the lesser of the lead singles, “ME!” Were particularly frustrating for me. Here, Taylor tries her hand at a more opinionated style of writing, as apposed to her usual storytelling, and in both cases, the  results feel shallow and uninventive.

On the other hand, much of this record eschews the tendency toward upbeat, danceable music and instead focuses on slow, growing waves of sound which seem only to keep building. Tracks like “The Archer,” and “Cornelia Street,” are bright and enveloping with warm, towering synths coloring the soundscape. The pallet is, admittedly, a bit narrow, but the overall sweetness of the sound makes up for any shortcomings, and when the pallet does expand, as in the addition of the Dixie Chicks on  “Soon You’ll Get Better,” it does so quite well.

This is all made infinitely better by the records’ strongest quality: the bright, shimmering production. The shift to Republic Records is felt in the pristine clarity of tracks like “Cruel Summer,” and “Miss Americana & The Heartbreak Prince.” The tuning on Swift’s vocal is warm, the buzz of the synths is interesting, and overall mix is just perfectly balanced.

The record’s weakest point, on the other hand, is the bizarre percussion that litters several of the albums better cuts. Tracks like “I Think He Knows,” or “London Boy,” would be perfectly respectable if not for the strange and often annoying trap drums which feel entirely out of place. For a record with such well produced instrumentation, this poor percussion robs nearly every track of any organic feel that was possible.

Overall, this album is a success. There are a handful of poor choices in the lyrics and the 60 minute runtime definitely drags as the final few tracks feel totally unnecessary, but these issues can’t outweigh the album’s strengths. The fantastic songwriting, lively production, and carefree tone carry the day and even the worst tracks have a strong moment or two.

Ultimately, Lover is everything fans could ask for from a new Taylor Swift album and just a bit more.

6/10

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AURORA Drops Starkly Gorgeous and Well Executed LP

A Different Kind Of Human is breathtaking take on pop music with a colder, more alienating tone which contrasts well with the undeniably catchy songwriting and mainstream sensibilities.

AURORA is an indie/electropop artist from Stavanger, Norway. She debuted with her 2015 EP, Running with the Wolves which slipped almost entirely under the radar but built something of an underground fan base. It was her full length follow up, All My Demons Greeting Me as a Friend, which put her on the radar of the indie pop world, topping the charts in her native Norway and even breaking onto the US charts for a moment after she performed on a few American late night programs. This success kicked off a massive tour which ended with the release of her second EP, Infections of a Different Kind, which landed her a spot in festivals like Lollapalooza and Coachella, as well as serving as the first part or “step,” as she called it, in a longterm series of releases. The second “step,” A Different Kind of Human released earlier this week and on it, Aurora is as entrancing as ever.

The album opens with one of AURORA’s fantastic songwriting on full display in the form of irresistible hooks. Tracks like “The River,” and “The Seed,” feature choruses which will catch the ear of even the most casual music listener and stick in their heads for quite awhile. She ties in clear inspirations from artists like David Bowie, for whom she’s expressed much admiration in the past, in putting together some truly fantastic hooks.

Beyond this, her lyricism is even more impressive. On cuts like “Daydreamer,” and “Hunger,” AURORA simultaneously uses a few interesting techniques. On the one hand, she consistently goes against the thematic grain of modern pop music, criticizing our tendencies to live only in the moment and speaking to the importance of living for the future as well. Additionally, she writes with haunting and almost alien imagery that makes for a fascinating experience when trying to dissect her storytelling.

Vocally, AURORA is also quite strong. While she doesn’t quite have the power of an average pop star, she makes up for this in spades with impressive control and an excellent range. Tracks like “Animal,” and “Soulless Creatures,” benefit tremendously from her excellent work as the front woman, her gentle tone providing an intimacy which acts as a strong counterpoint to the bewildering instrumentals.

All this being said, A Different Kind Of Human, as with most great pop music, leans heavily on its production and instrumentation. Most of the instrumentals feature heavy synths and quite a few unique tones but this is nothing compared to the extremely inventive percussion, most of which was performed by AURORA herself. Songs like “In Bottles,” and “Apple Tree,” while already listenable and interesting in their own right, are elevated to entirely new heights by the quirky and unpredictable percussion that drives their rhythms.

The album as a whole, however, just wouldn’t be what it is without some of the most genuinely impressive production of the year. From the intoxicating simplicity of “Dance On The Moon,” to the otherworldly experimentation of the title track, and even the gorgeous but criminally short closer, “Mothership,” the production team gets it right in every way possible on this one. Technically, their mixing and vocal tuning is spot on and creatively, nearly every second of the album is daring and unique, yet still listenable and accessible for all listeners.

Ultimately, A Different Kind Of Human is yet another breathtaking accomplishment for the Norwegian pop superstar. She’s somehow able to blend fearless experimentation with wonderfully accessible elements to create something truly special. The record is cold and distant, yet starkly beautiful in almost every way. If you’re a fan of great, well executed pop music, this is a must listen.

A Different Kind Of Human is breathtaking take on pop music with a colder, more alienating tone which contrasts well with the undeniably catchy songwriting and mainstream sensibilities.

8/10

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The Jonas Brothers’ Comeback is a Decade in the Making

Happiness Begins is simply frustrating because of a strong start and a heap of potential, but lazy writing and terrible production and instrumentation drag the album down every step of the way.

The Jonas Brothers are a power pop trio from Wyckoff, New Jersey. While their debut was fairly nondescript and unimpressive, their self-titled sophomore release in 2007 went double platinum and netted them a Grammy nomination for best new artist. They landed roles in the 2008 Disney Channel smash hit Camp Rock, becoming Disney Royalty. They dropped another double platinum record that year and another platinum album in 2009. Their last two records peaked at number one on Billboard charts and they’d had a multitude of massively successful EPs, tours, movies, and music videos. In 2012, however, after several delays plagued work on a new project, the brothers announced that they were leaving Hollywood Records, their tie to Disney, and began a messy, drawn out process of splitting up. Nick Jonas found considerable success as a solo act with a handful of platinum singles while Joe Jonas fronted the group DNCE, honing his power pop chops and dropping a few hits himself. Now, a decade after their last release, the brothers have returned with Happiness Begins which is, unfortunately, disappointing.

The opener and lead single, “Sucker,” raised my hopes quite a bit even before the record has released. Unfortunately, aside from a handful moments on songs like “Trust,” these hooks just don’t appear as much as they need to. While a few choruses here and there are strong, singable earworms, just as many are poorly written and half baked. This is, to be sure, the strongest quality of the album and could make it sound better than it really is when played as wallpaper music. However, the singable sections of these tracks often don’t hold up to closer listening.

Beyond this, the Brothers do show some fairly impressive chops in the harmony department. Songs like “Used to Be,” and “Strangers,” feature tight, three part harmonies which, though they aren’t nearly as prevalent as they should be, are very welcome additions to the sound. Sadly, this is pretty well the end of the line in terms of positive comments on the album.

One bizarrely poor choice comes early in the record with nearly unlistenable, “Only Human,” and reappears only a few tracks later with “Every Single Time.” Here, the Jonas Brothers take their best swing at a reggae style and whiff entirely. Virtually every aspect of these tracks-the poorly mixed horns, the strange inclusion of synthesized steel drums, the awkward vocal performances-is hamfisted and irredeemable.

Lyrically speaking, the entire LP is essentially filler. Songs like “Love Her,” and the closer, “Comeback,” are especially egregious, but I don’t know that I heard one single memorable lyric in the more than 40 minute runtime. Nothing is noticeably bad, but it all feels somewhat lazy and cliche’d.

The instrumentals also leave quite a bit to be desired. The main reasoning for this stems from terrible choices of tone for the synths that drench every track. There’s certainly nothing wrong with using synths for the majority of the record, and in fact I was expecting this in keeping with their more power pop roots, but the tones range from abrasive and odd to just thoughtless and ignorable on a song like “I Believe. On the other hand, later songs like “Rollercoaster,” use terribly outdated acoustic guitars that seem ripped from a Philip Philips album.

Perhaps the first hint that I was headed for a disappointment came with the very poorly mixed drums on the second single, “Cool,” as well as later cuts like “Happy When I’m Sad.” The percussion generally uses boring, nondescript trap drums which simply don’t fit with the tracks what soever, though when a more organic kit is present, it’s devoid of any body or thickness.

This brings me to the most overarching and inescapable critique of this project which comes down to simply awful production. “Don’t Throw It Away,” is unbearably mixed while “Hesitate,” uses a multitude of irritating effects and poorly tuned vocals. I save this issue for last because it is certainly the cause of the majority of the album’s weakness. There does seem to be at least a passable album hidden in here somewhere, but it’s just buried by one awful decision after another and what’s left is unlistenable. I genuinely wanted to enjoy this record, but there just isn’t much there to enjoy.

Happiness Begins is simply frustrating because of a strong start and a heap of potential, but lazy writing and terrible production and instrumentation drag the album down every step of the way.

3/10

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Carly Rae Jepson’s Fourth LP Is a Blast!!

Dedicated oozes passion and creativity from every note, and makes up for any missteps with thick, indulgent pop sensibilities.

Carly Rae Jepsen is a pop singer/songwriter from Mission, British Columbia. She debuted in 2008 with Tug of War, released on local, Canadian labels and selling just over 10,000 copies in her home country. She went on to build a respectable local following before signing to Interscope and releasing the mega-hit “Call Me Maybe,” in 2011, which reached diamond certification. From here, her next album, Kiss found strong success in 2012 and Jepsen was set on a path for teen pop stardom. However, with a simple life of one-hit-wonder success laid out, she instead made the admirable decision to challenge herself and her listeners with 2015’s Emotion. The record was a tour de force, jam packed with some of the most danceable pop music in years. This was aided by Jepsen’s decision to make a hard turn toward the indulgent, synth-pop of the 1980’s which had been an obvious inspiration on her earlier work. Dedicated largely picks up where Emotion left off.

From the opening moments, its clear that Carly continues to wear her influences on her sleeve in the classiest way. One of my favorite tracks, “I Want You In My Room,” captures the fearless style of the 80’s pop scene while a later cut like “The Sound,” seems to draw from 90’s artists like Alanis Morissette, particularly in her vocal melodies. Throughout the album, she manages to perfectly toe the line between heavy influence and intentional tribute, never quite settling on either.

Additionally, the production is heavily lifted from the same era, especially in its shimmering synths and start drums. The opener, “Julien,” uses this to fantastic effect and will have even the most heartless listener dancing by the half way point, while “Everything He Needs,” dabbles in spacey, psychedelic elements which I hope to see further explored on a later LP. The mix is so bright and the decisions so daring that every song is a treat.

That being said, the record does fall down a bit when it comes to instrumentation. Simply put, the entirety of this album’s instrumental pallet is made up of synths and drums. While I can generally forgive a narrow pallet on a pop album, Dedicated takes it a bit far. It can often be ignored, but on tracks like “Happy Not Knowing,” and “Right Words Wrong Time,” when the hooks are a bit less impressive or no vocal lines are jumping out, it becomes clear that the instrumentals are actually quite uniform.

On the other hand, the percussion is excellent on this album. The slicing snare on “Automatically In Love,” and the quiet but intricate and heavily effected drums on “For Sure,” are just a few of my favorites, but nearly ever cut on the record carries a strong rhythm section which is both well mixed and lively, despite being obviously recorded on a drum machine of some kind.

Like many pop albums, Dedicated lives and dies by its hooks. This is one of the most singable albums I’ve heard all year, driven by songs like “No Drug Like Me,” “Feels Right,” and “Real Love,” which are genuinely impossible to stop humming throughout the day. This is one element which Carly has had in spades from the beginning of her career and its only gotten better with time.

When all else fails, the album can simply fall back on Jepsen herself and one strong, energetic performance after another. The way she lays it all out on a “Now That I Found You,” or “Too Much,” is just infectiously fun. She’s truly a talent in the world of pop songwriting and performance, evidenced by her ability to elevate every track she touches to an entirely new level.

All this aside, there are a few weak points. As I mentioned, much of the instrumentation is repetitive. Additionally, the lyrics leave quite a bit to be desired and the pacing drags now and then on tracks like “I’ll Be Your Girl,” leaving just a few minutes to feel like rehashed elements from earlier in the album.

Nevertheless, Dedicated is a blast to listen to. Carly Rae Jepsen takes the 80’s-esque style from Emotion and develops it fully on this follow up. While it isn’t perfect, any weak moments are quite effectively painted over by shimmering production, powerful vocals, and screaming synthesizers.

Dedicated oozes passion and creativity from every note, and makes up for any missteps with thick, indulgent pop sensibilities.

7/10

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Miley Cyrus Drops Yet Another Directionless, Hot Mess

SHE IS COMING is a half-baked, hot mess that is fluctuates between boringly safe and confoundingly awful.

Miley Cyrus is country/pop singer from Nashville, Tennessee. She rose to massive fame as the most prominent figure in Disney’s mid-2000’s class of musical stars. Under the Hannah Montana moniker, she released five LPs full of relatively inoffensive pop music alongside three fairly similar releases under the Miley Cyrus name. Having released five albums by the age of 18, Miley seemed to feel a bit boxed in as the character she’d played on Disney Channel. She quite admirably broke this box with her 2013, triple platinum album, Bangerz, which was vulgar and daring, if a bit meandering. This was followed by the horrendously bloated Miley Cyrus and Her Dead Petz which received a limited release and her much tamer, full scale follow up, Younger Now in 2017. While Miley’s recent work has been commendable in its effort to push boundaries and change her public image, it’s largely felt aimless and thoughtless and virtually never takes advantage of her genuinely impressive vocal abilities. SHE IS COMING is no exception.

The EP opens with “Mother’s Daughter,” which is perhaps the only listenable cut on the tracklist. The trap drums play quite well against the spacey, piano-driven instrumental and Miley’s vocal performance is actually quite strong. The vocal tuning is entirely over the top and the lyrics are atrocious, but the hook is somewhat singable and Miley seems closer to a middle ground between her pop sensibilities and edgy desires than she has in the past.

“Unholy,” follows and a few of the issues with this project start to become apparent fairly quickly. The change in producers from track to track robs it of any possible coherence and Miley’s breathy, hissing vocal is extremely overproduced. The trap drums entirely overpower every melodic element, though none of them are interesting enough to warrant being pushed to the front of the mix. Worst of all, the lyrics on this cut are just awful, and the entire song sounds completely half baked, as does much of the EP.

“D.R.E.A.M.,” falls in the middle of the project and is one of the most disjointed messes of a song I’ve ever heard. While the chorus is admittedly catchy, Miley’s voice is once again breathy and overproduced as she sings over a hokey piano line which could fit comfortably on a High School Musical soundtrack. The only possible saving grace for the track would seem to be the feature from Wu-Tang alum, Ghostface Killah, but instead he phones in a short, unrelated verse on a completely different instrumental which only takes up that 20 or so seconds.

“Cattitude,” is the forth track on the EP and an absolute dumpster fire in musical form. Every single element, from the bizarre and endless RuPaul feature, to Miley’s embarrassing attempt at rapping on the verses, to the horribly vulgar lyrics is simply unlistenable. I can’t fathom how anyone let this song leave the studio’s doors but luckily for the listeners, it seams to be the rock bottom for the record.

“Party Up The Street,” sees Mike Will Made-It taking over production duties for the only well produced song on the tracklist. Swae Lee’s feature is flat throughout the entire track and the instrumentation is boring and uninventive, but a few of the melodies are genuinely well-written and it seems to be the only cut that anyone actually cared about. It serves as a welcome switch up from the aggressively terrible tracks that precede it.

The project closes with “The Most,” which is fairly inoffensive, though it offers little by way of intriguing ideas. The chorus is fairly well-written and features some of the only passible lyrics on the EP and Miley finally gives an impressive vocal performance, which has been lacking from every song thus far. That being said, its still quite overproduced and uninventive and features an irritatingly nondescript synth lead covering the majority of the melody.

Ultimately, this EP is a mess. It somehow finds a way to feel lazy and half-baked yet overproduced and soulless at the same time. Miley’s recent career has been full of spinning wheels without a track, but SHE IS COMING is the worst in this regard. I don’t see any audience for this or even a reason for it to exist.

SHE IS COMING is a half-baked, hot mess that is fluctuates between boringly safe and confoundingly awful.

1/5