Flick the tab atop your beer can, you all, Charli XCX’s third studio album Charli is the umpteenth bomb dropped by the 27-year old hurricane born in Cambridge, who unearths pure wonder from all resources, once again, with whatever gear she has at hand
Unctuous, oleaginous, saponaceous, the record was released on the 13th of September by Asylum and Atlantic Records and was anticipated by the single 1999, featuring South African–Australian artist Troye Sivan, already a classic cult, an instant anthem
You may know her because of her collaboration with the Swedish duo Icona Pop on the big-hit I love It, or you may have heard her Boom Clap tune on the soundtrack album of The Fault in Our Stars. Wherever You happened to meet her avant-garde approach to pop music, the perception you might have embraced every single time might be that this young force of nature actually arrived on this Earth by travelling back from the future.
This brand new chapter following the previous ingenious Pop 2, confirms that all the extravaganza of this girl whose nickname is still the one she used on Msn in 2008 is still a hallucinatory simulacrum of reality and when all around is manure, she is forever one step ahead.
Here to document her genius, her stridulating sound mixes up in the opening track Next Level Charli, a track encased in swirls of autotuned-pop in which She clearly doesn’t croon and doesn’t curl up. You can hear a saturnine smile in her voice, She’s been out there for quite sometime now and this is her declaration of intents: I go hard, I go fast / and I never look back / I go speeding on the highway.
She portraits the truth: She always gets around to amaze and shock and deliver flawless hip-shaking tunes.
Despite of her soporific spices, she saw off the punkish, angst-ridden teenage charli of Sucker big time ago, now She duels with calamitous, heart-wrenching boys’ behavior. But She wouldn’t be the futuristic Diva she is if she didn’t stick up for herself. In Cross You out lyrics we hear her singing Thought I’d fall apart / but now you’re gone/ I’m screaming out (The tune really resembles Backseat, but veers away from predictability).
Her cat-fighting temper doesn’t wear off: in Click, with Kim Petras and Tommy Cash, we have ghettoized harsh sounds coming from Sophie‘s conceptualization, in Warm, featuring Haim, She complains about her one-sided love (You gotta tell me the reason / Why we can’t fall in love).
Beats pile upon each other, as it for puzzling lyrics out, her music is nothing short of glittered tenebrosity in which the narrator is a poisoned heart smocked by issues and daily fuck –ups ( in Thoughts she admits: Fucked up, I just wanna break glass)
Charli XCX experiences sound-to-colour synaesthesia and her sartoriasl taste often eludes her senses: Shake it involves an army of queer angels, such as Big Freedia, CupcakKe, Brooke Candy and the Brazilian sensation Pabllo Vittar and it is such a mess at the end of which there is only a feeling of hangover. Similarly it goes for Balme it from the previous record, in this brand new rendition, is certainly pure pop bombast but at the same time doesn’t really add anything remarkable to the Pop 2 impeccable version.
Official has Kate Nash’s vibe within, February 2017 (feat Clairo and Yaeji) pans out with upbeat spine supporting sinuous flow but it’s definitely Silver Cross that cranks the engine, invoking somehow the experimental E’ troppo facile by the Italian Meg. Gone is a mind-opening masterpiece that is blessed by Christine and the queens presence.
Once we hop off this roller coaster, we are aware again that sometimes it’s all wound up for a fight back, and this tumultuous music climax is the perfect coda to celebrate Charli’s comeback and toast to her perennial talent. Her music is beyond the future and zooms through what’s beyond. What-da-fuck!