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wopcalmetacriticthings · 4 years

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NME - sweet & sour by Ariana Grande

sweet & sour

4.5/5

“sweet & sour” has arrived as one of the highest anticipated releases of the year. It’s been two years since Ariana’s last full length release and even though we had an EP to tide us over, we couldn’t wait to sink our teeth into an album’s worth of songs. And what do you know….we got two albums worth. When it was announced that this was going to be a double album, it sent a shockwave of excitement in her fan community as well as the industry. A double album hasn’t been attempted by a mainstream artist in a long time and Ariana made it work miraculously.

The biggest positive about the album is that feels like it has purpose. In two discs, there’s a big chance of filler and forgettable tracks, but we really don’t get that here. Each song has it’s defined purpose in the tracklist and each one sounds like it had genuine love and affection put into it. The tracks are also as mature as they are memorable, showing a big step up in writing from what we last saw from her. “no tears left to cry”, “ghostin”, “thank u, next”, and “bad idea” are songs from a woman who knows her lane and is incredibly confident in who she is and where she is in her career. Vocally she’s consistently perfect throughout the project once again proving herself as the premiere vocalist of her generation.

The album certainly isn’t perfect however. The production on the first disc is fairly underwhelming and lets down Ariana’s vocals and writing. Pharrell is mostly to blame for this because his style is incredibly outdated and he refuses to change. “sweetener”, “successful”, “the light is coming”, and “get well soon” are kind of dragged down from the sounds that Mr. Williams applied to it. On the second disc, the production isn’t dated it just kind of grows repetative in the beat department even when the overall songs are pretty distinct from each other.

This is honestly an album that can turn a hater into a fan if they’re not careful. Ariana left behind most of what was dragging her down before and replaced it with a new sense of confidence that we’ve not seen from her before. The songs are expertly well written, wonderfully produced, and everything clicks on another level. This is the best album of her career and one of the best albums of recent memory. It assures her spot in the future pantheon of legends.

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wopcalmetacriticthings · 4 years

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Pretty Much Amazing - sweet & sour by Ariana Grande

sweet & sour

8.7

Ariana Grande is one of the most exciting artists working in the business today and her new double album “sweet & sour” proves that. Though her previous couple of projects have been big commercial successes, they’ve not been as acclaimed as her earlier work. Taking on a double album was a risky move on both fronts. With so many songs it’s easy to be daunting for a listener and it also leaves room for some less than great music to work it’s way onto the disc. Thankfully, that doesn’t happen on this project. Nearly every song is solid gold and memorable.

The first disc is labelled “sweet” and it’s not hard to see why. Primarily produced by Pharrell, the disc is a set of semi-throwback tracks that inspire both self empowerment and happiness. The songs are all upbeat and play to the kind of 2000s pop nostalgia that not many artists are touching on. Ariana sounds like she’s having an insane amount of fun on this first disc and that comes through in her performance on each track. It’s not a secret to anyone that Ariana is one of the premire vocalists of her generation and that’s proven to be true here. On the intro track “raindrops (an angel cried)” she hits the sweet spots with her voice and it continues from there. “breathin” shows off her sustainaing power with some impressive notes, “god is a woman” shows off her mastery of her lower register, and “no tears left to cry” shows off her confidence in her upper register (and it’s one of her most infectious melodies to match). If there’s any downside to this disc, it’s that it doesn’t offer much variety. Each song is pretty much cut from the same cloth and that can become taxing sometimes.

“sour” is on the total opposite end of the spectrum, tackling far more emotional content with a more mature approach. It’s evident from the very beginning that the way this disc was tackled was far different from the first. There’s a much denser and detailed sound to these songs and Ariana’s vocals match that. Her voice swings through the vocal extremes with ease and we get to see just why this woman is so revered vocally. The writing is also incredible on this disc and it produces some of the best written songs we’ve heard not just from Ariana, but from any artist this year. The downside to this disc is similar to the first in that there’s not too much production variety. There are notable differences to be sure but most songs fall into the trab sub-genre beat wise.

This album was a considerable risk for Ariana but it’s a risk that has more than paid off. Without question, this is the best work that we’ve gotten from Ariana yet. The project shows off two very different sides to Ariana as an artist but both sides are absolutely wonderful. Her vocals are next level, her writing is smart, and both discs feel disctint but complementary. The production side of things isn’t as strong as each disc falls into a distinctive rhythm as the discs continue on but it doesn’t drag the project down in any way. This is a fantastic album and stands as one of the most impressive pop girl releases of recent memory.

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wopcalmetacriticthings · 4 years

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Pitchfork - sweet & sour by Ariana Grande

Ariana Grande

sweet & sour

8.1/10

Ariana Grande has been making hits for damn near a decade now and she’s shown no signs of slowing down. It’s been nearly two years since we’d last gotten a full length record from the songstress (the huge selling but critically dismissed Craving) but she’s kept her name in people’s mouth’s since. With last year’s surprise release EP, Ariana introduced to us a new sound and a new vibe. Though the project was a success, it was largly written off by critics as an inferior effort, making it Grande’s second critical blunder in a row. However, things have seemed to change between now and then. Thusfar, her new era has been expertly managed, entertainigly executed, and most importantly, up to her traditional standard. This new album is an ambitious one, the most ambitious of her career. A double album is a risky move for any artist to take on but Ariana seems to have no fear of the challenge.

Disc One: sweet

The first disc kicks off with a short introduction that immediately announces Ariana’s powerful presence. With a lovely display of her vocal ability, the album kicks off on an interesting note. The first proper track, “the light is coming”, is a Pharrel produced Nicki Minaj collaboration and it’s a pretty solid effort overall. It leans perhaps too heavily into Pharrel’s worst instincts as a producer but a lively performance from Ari makes it a fun listen. Nicki’s verse is a little underwhelming considering her usual standards, but even still her presence is welcome. “R.E.M” is an okay track but there’s nothing at all remarkable about it. It’s a lumbering song, moving along at a snail’s pace making the just over four minute runtime feel like a hard fight to the finish line. The lyrics are decent but betrayed by Pharrel’s lazy production. “God is a woman” is the first essential track on the album and it’s a fun one. The song’s concept is interesting, Ariana’s vocal performance is fantastic, the melody is memorable, and the production is full of life. It’s an amazing track and shows us that the spark is well and truly back in Ariana’s creative life. “sweetener” lacks that spark however. Lyrically, the song is one extended metaphor for happiness both romantically and sexually, but as entertaining as the words themselves are, it has to be said they’re still fairly nonsensical. Pharrel again manages to step on Ariana’s toes with a phoned in production turn that offers nothing interesting which seems to be his modus operandi as of late. The song isn’t exactly a skip, but it’s far from a homerun. “successful” is bragging track but somehow it’s more fun than annoying. That being said, the song doesn’t really become more than fun. It’s writing is inconsequential and Pharrel once more turns in an uninspired production piece which keeps the song from being anything more than just a fun little addition

“everytime” is the album’s second big single and it’s still as much fun as it was when we first heard it. The song’s production is it’s highlight by a long distance. It’s full of personality and a fun spin on the worn out trap trend. Lyrically the song is an interesting development in Ari’s relationship drama series of tracks and her vocals match this interesting swerve in subject matter. However, the song is incredibly repetative and it eventually becomes annoying to hear key phrases repeated over and over again when it’s clear that something more interesting could and should’ve been said. “breathin” gives us another essential track with a big shake up in style and vibe. The production is fantastic on the track which begs the question of why Ilya didn’t get more time on the first section. The lyrics are repeatative but have some actual meaning and purpose which makes it worth it. Ariana’s vocals are absolutely incredible and she meshes so incredibly well with the brilliant production work, making this song an absolute stunner. “no tears left to cry” is the second instant classic in a row, but it holds the distinction that the other 10s on this disc don’t: it’s easily (EASILY) the best song on this first disc and easily in the top five of Ariana’s entire catalogue. The production is dense and complex, the lyrics are sharp and refined, and Ariana’s vocals are nothing short of game changing. The melody of the chorus is one of the most genius in modern pop and it leaves this song as a real jewel in Ariana’s ever shiny crown. The next track, “better off”, isn’t anywhere near as brilliant but it gets the job done. It’s a song that’s clearly emotional and deeply personal to Ariana and that injects life into her vocals. But what keeps the song from classic status is mixed production and the lack of a memorable melody. “goodnight n go” is a half cover, half reimagining of the Imogen Heap song of the same name, but it lacks anything beyond that piece of trivia that makes it anything remarkable. Her vocals are good, but she doesn’t sound particularly invested and the production isn’t all that spectacular either making a nice presence, but pretty dispensible overall. The first disc closes with an unfortunate whimper of a track in “get well soon”. Though the song has a good message, it’s done in one of the more cliched ways that she could’ve taken. The song’s production is a total misfire (again at the hands of the musical assassain known as Pharrel) and the song lumbers on for way longer than it needs to. There’s nothing particularly wrong with a long song, but the content has to justify the length and this track doesn’t. It leaves this first disc with a bit of a bad taste.

All in all, “sweet” is best summed up as inconsistent. There are some genuinely amazing tracks on it and then there are some entirely forgettable mistakes, and even some in between. Pharrel is largely to blame for the bum moments on the project and this is prved in the fact that all of the songs that stand out as classics were helmed not by him, but by Ilya (and Max Martin). It’s far from a waste of your time, but it’s easily the inferior disc of the two.

Disc Two: sour

The second disc kicks off with one of it’s only weaker efforts, “imagine”. The production is far more polished and concentrated than almost anything on the first disc, and Ari’s performance on the track is confident and smooth to match. Lyrically, the song has a few hiccups that keep it from being one of her better writing efforts and with the vibe, it makes for a strange and somewhat underwhelming introduction to this side of the record. This is quickly rectified with “needy” which improves on everything that wasn’t perfect on the opener. The production is perfectly suited to the track with brilliantly chilling background vocals and a fantastic vocal and lyrical performance from Ari. It’s just a shame that the song is so short, it doesn’t get the chance it needs to really be perfect. “NASA” is one of the most purely fun tracks on this disc without a doubt. The production is once again perfectly suited to the track and creates a fun mood. Lyrically the song is playful and creative and that lends Ari to another animated and strong vocal performance. The song’s only downside is that it’s slightly too repetative for it’s own good. “bloodline” lands as this disc’s first perfect track. The production is lively and Ari is as well. There’s an element of humor in the lyrics that demonstrates fantastic writing and a real handling of what the track needed to be. The song’s so much fun and is perfect for replays when the album concludes. Next up is “fake smile” and for the first time, Ariana discusses her fame and the impact it’s had on her life. The song is expertly produced, especially the sample that’s so geniusly employeed. Ari’s vocals are again fantastic and the song’s whole vibe is right on the money. “bad idea” is Ari’s next brush with perfection on this record. The production is nothing short of spectacular, the vocals are chillingly good, and we can’t even accurately put into words what the orchestral breakdown in the middle and back of the song make us feel. It’s almost tearjerkingly good and if it makes it as an official single, this is a potential Record of the Year nominee.

“make up” doesn’t quite reach those standards and it produces this disc’s second just okay track. The lyrics are clever but there’s not many places that the song can go with the central wordplay and it leads to a repetative track. The production is somewhat derivitive of what’s come before as well. It’s still a fun track that shouldn’t necisarily be skipped but it doesn’t beg to be sought after. “ghostin” however does. Though there are other perfect tracks on this record, “ghostin” is without a doubt the best of the 24 total selections. The production is emotionally impactful, the lyrics perfectly capture the grief that Ari’s been through the last couple of years, and the song inspires deeply gutteral responses of emotion. The song is absolutely beautiful, especially with Ari’s haunting and clerly pained vocals. It’s her finest moment of her career so far both in terms of performance and her brilliant writing. “in my head” is another great track even if it’s not one of the best ones. Lyrically the song is once again fun, especially the second verse. The chorus shines the brightest though with amazing vocals and an incredily catchy melody. The verses don’t really live up to the chorus however. “7 rings”, the album’s indestructable lead single is one of the most purely entertaining tracks in Ari’s discography. Interpolating the melody of one of The Sound of Music’s best offers is a clever move and it’s matched by clever lyrics and an animated performance from Ari. Some people may enjoy the song’s concept, but when you’re able to look at it in the humouros way it’s intended, you’ll find a lot to love. “thank u, next” is an anthem of self love and growing from a troubled past. The lyrics are the strongest aspect of the track without a doubt, painting a confident and strong picture of Ari. However, the melody is a little underwhelming, as is the production. The album closes on yet another perfect offering, the fantistically cheeky “break up with your girlfriend, i’m bored”. The song is clearly meant to be humorous and fun and it succeeds. The production is clean and confident, Ari’s performance is fun and filled with attitude, and the song ends up being one of the most memorable offerings we have.

Double albums are notoriously hard to pull off. Only a handful of people have put forth double albums worthy of attention and praise (Led Zeppelin, The Beatles). The issue is that with such expansive track lists, it allows a lot of less than satisfactory songs to come through. Miraculously, Ariana manages to succeed in her mission. The album certainly has it’s flaws, but in the overall, it stands as her best work to date. Each disc feels distinct and both offer their own contributions to the overall picture. Ari sounds like she’s having the time of her life throughout the track list and it allows a lot of fun to be had on our part. The album’s certainly ambitious and while it doesn’t always hit the mark, it mostly succeeds across the board. The first disc is certainly inferior to the the second but both discs have their share of fantastic tracks. This format speaks volumes to Ari’s creative spark that has seemingly been in question for a couple of releases now. There’s a little something for everyone within the confines of the record and for that, it has to be chalked up to a win.

raindrops (an angel cried) 7/10

the light is coming 7/10

R.E.M 6/10

God is a woman 10/10

sweetener 6/10

successful 7/10

everytime 7/10

breathin 10/10

no tears left to cry 10/10

better off 7/10

goodnight n go 6/10

get well soon 5/10

imagine 7/10

needy 8/10

NASA 9/10

bloodline 10/10

fake smile 9/10

bad idea 10/10

make up 7/10

ghostin 10/10

in my head 8/10

7 rings 10/10

thank u, next 8/10

break up with your girlfriend, i’m bored 10/10

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wopcalmetacriticthings · 4 years

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AllMusic - sweet & sour by Ariana Grande

sweet & sour

4/5

It’s been a little while since we’ve sat down to an Ariana Grande album. Sure we had an EP but it’s been almost two years since her last full scale release and her absense was felt. To make up for the wait, Ariana blessed us with a double album and true to form for double albums, it’s not perfect...but it’s also close to perfect at the same time. An interesting delima, but what’s the cause? Well, like many double albums, the extended tracklist gives a lot of room for less than stellar tracks to shine through. But also offers a lot of room to instant classics to come through as well. Both options rear their head on “sweet & sour”.

The interesting thing is that each disc is very singular. It really feels like two completely different albums rather than one concious stream of 24 like many double albums are. This is both a blessing and a curse. The curse is that one album is going to dwarf the other, the blessing is it offers something for literally everybody. Without a doubt, the second album is stronger than the first. “sweet” is a nice piece of throwback pop. With Pharrell in tow, you can’t really expect something that sounds of this moment and indeed, Pharrell’s contributions sound very Pharrell. The problem there is that sound is dated. The disc fares far better when she branches out to other producers to add something that does really feel here and now. The two standouts from this disc are without question “no tears left to cry” and the second big hit from the album “everytime.” Both songs are full of identity and power and they make themselves stand way out on a disc that doesn’t offer many standouts.

The second disc, “sour”, is non-stop standouts however. Honestly there’s not really a weak track on this disc. The sounds of the songs feel not only current, but groundbreaking. The approach is a simple one but the sounds that this approach creates feels almost futuristic in points. Ariana has her fingers on the pulse of the modern music scene and capitalizes on the sounds of this era while making them her own. “bad idea” is the most notable of the more upbeat tracks. The orchestral elements combined with Ariana’s unquestionablly most infectious melody makes an absolutely amazing track. On the other side of the sound pool in the ballad section rests “ghostin”, an emotionally devestating track that feels more like a diary entry than a mainstream pop song. It really is Ariana’s finest hour.

If we were taking these albums on their own, the story would be easy to tell. But seeing as they’re presented to us a double record, we have to assess the project as a whole. And unfortunately, the whole has holes in it’s armor. The first disc has a lot of misses that don’t congeal together and work too well. However, the second disc is her absolute best work to date with some absolutely fantastic choices. This gives the album an inconsistent feel, even when it’s split into two discs. Even with the inconsistency between the two discs, there’s no one that’s going to walk away from the album feeling shortchanged. Ariana offers something for everybody. Everyone will be satisfied by something on display here and that’s a magical thing in music. This is without a doubt the best work Ariana’s ever turned in and effortlessly lands as an Album of the Year candidate.

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wopcalmetacriticthings · 4 years

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Rolling Stone - Greatest Hits: 2080-3020 by Ulala

Ulala

Greatest Hits 2080-3020

3.5/5

Oh Ulala. One of the most teased and joked about new artists of last year, Ulala’s had a hard road to her debut album. Her first project was pretty well savaged (even if wasn’t as bad as the reviews made it seem) and as a result she seemed to back way off from the music scene. However she’s back with her full length debut and it’s incredibly on brand for her. It’s a weird mix of bubblegum pop, Japanese pop, throwback sounds, and it’s all topped off with a cherry of a gimmick to deliver it. It’s going to be easy for this work to get torn apart just as much as her EP did and it’s not entirely going to be wrong; the album is far from perfect. But to go into it looking for perfection is to miss the point entirely.

The album is clearly tongue in cheek in every way from it’s title to it’s production. Ulala’s fairly self aware and she knows what people were expecting and she makes good on those expectations. That doesn’t mean that she’s convinced she made a game changing masterpiece, it just means she’s out to have a little bit of fun. And that’s exactly what this album is, it’s fun. It’s easy listening, no strings attached fun. It’s strengths lie in how little Ulala seems to care about making something that fits squarely into the commerical landscape of 2020. She’s mining for sounds that you just won’t hear on the radio and she’s making those sounds stand out with her bizarre delivery.

It is however somewhat hard to tell when the sarcasm ends and the album really begins. Every song carries with it a question of what exactly her intention is. On the opening couple of tracks it’s obvious she’s being more serious in her discussions but as the album goes along it becomes more light and up in the air. She has ideas certainly but it’s hard to make out what she’s wanting us to know. The nostalgic feel of the tracks also can make the album sound a little bit too samey as we get toward the back half. Despite the language shake up there’s no sound shakeup to match so we’re left with the same kind of vibe throughout.

Is this a masterpiece? No, it’s not. But it was never supposed to be. This is an era where albums supposedly need to be statements and Ulala decided she didn’t want to do that. Instead she made a fun little pop album and there’s nothing wrong with that. There’s fun to be had here for sure whether it be to bop along to a track or two or laugh at some of her humorous writing style. Don’t take it so seriously, it ruins the whole purpose of the project!

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wopcalmetacriticthings · 4 years

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Variety - Greatest Hits: 2080-3020 by Ulala

6.5/10

2020 feels like a very transitional time for the music industry. Artists’ attentions are turning to more serious subject matter and their methods are becoming more experimental and adventurous. And while not many people are going to admit it, that’s sort of what Ulala’s done here. While she’s not going serious with her subject matter, she IS getting adventurous. Ulala was roundly dragged for her confusing brand and polariing sound when she released her EP last year, and she’s not really made that many changes this time around. But somehow...it works a little bit more.

The album is definitely unlike anything you’ve ever heard. Between kiddie bublegum pop (“Glockenpop” and “California”) and J-Pop (“ShibuyaK” and “Kimino Mikata”) we cover a lot of ground. And while the vibes veer wildly on and off course, it all feels surprisingly consisetent. There’s variety in the sounds but those sounds work together to form a whole body of an album. That alone is a step forward from what she offered last time. What has to be said though is that the album, while consistent, does lack a sense of direction. It’s not obvious what she’s trying to say and what this album is really supposed to be and how we’re supposed to take it. She laments about not being taken seriously but jokes with us in the same time frame so it sends out some mixed messages without a doubt.

Production of the album, while true to Ulala’s spirit, remains the biggest problem with her. This album feels old….really old. The sounds and styles are incredibly late 90s and early 2000s and not in a throwback kind of way. It feels more like a compromise than an actual choice. Ulala’s style is hard to describe and it’s likely even harder to make happen. The weird approach to the music screams conflicting opinions behind the scenes but we may never know for sure. The album is helped out by Declan McKenna, one of the most promising up and comers we’ve seen in a while, adding his unique and weird touch to most of the tracks even if it’s clear he wasn’t the lead in any of the overall decision making.

The album is much better than we all thought it would be but not as good as we hoped it would be. The album is certainly interesting and often pretty fun to sift through, but there’s not much subtance to back the style. The insistence on this kind of sound for her feels like it’s suffocating her. Ulala is certainly capable of a more well rounded sound, but for now she’s lost in this soundscape. But it’s not without it’s merits. She’s clearly having fun and invites us to have fun with her and that adds a lot of charm and character to the album. It’s a step in the right direction for her to be sure.

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wopcalmetacriticthings · 4 years

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Entertainment Weekly - Greatest Hits: 2080-3020 by Ulala

6.1

Ulala is without a doubt one of the strangest artists active in music today. Her gimmick isn’t a new one (Gorillaz have been playing in this field for quite a while) but right now she’s the only one who’s really pushing the gimmick. And because of that, she’s odd in a good way. But that doesn’t carry over much into her music. Her debut project was one of a couple of projects that were released last year that didn’t impress, but there was a lot of reason to be hopeful for her proper debut. And it has to be said that this album is indeed an improvement over her EP, it still has it’s issues.

Bar none the biggest problem with the project is that it sounds helplessly dated. The production of every track on this record sounds lifted straight from the early 2000s. Though this does offer a little bit of a nostalgic feel, it doesn’t always feel like that outdated sound is on purpose. For example, the song “Milk Bath” is a trip straight back to 2002 but it doesn’t come across like the song’s meant to sound as old and out of touch as it does. That’s a common theme on the album: nothing feels all that purposeful. The beginning of the album has an interesting hook (her discussing the iffy response to her EP) but after that it unravels into an album about everything and nothing all at the same time.

On a far more positive note, Ulala continues to do something good as she did on her EP: integrate other languages. Japanese is her language of choice and honestly the album works significantly better when she’s singing in Japanese than when she’s singing in English. The iffy production is far more excusible on these tracks because that’s the kind of vibe that Japanese pop music purposefully shoots for; it’s cute!

By the end of the album, it’s possible you had some fun and possible that some tracks stood out. However it’s not entirely likely you’re going to rush to play it again once it’s over. It’s dated sound, confused direction, and sanitized sound make an album that’s hard to really bite into and savor. It doesn’t seem that Ulala wanted to make something deep or profound and it’s okay if she wanted to make just a fun little pop record. But if that was her goal, then she should’ve put more of a focus on making these songs have some sort of staying power.

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wopcalmetacriticthings · 4 years

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Pitchfork - Greatest Hits: 2080-3020 by Ulala

Ulala

Greatest Hits: 2080-3020

56/100

Ulala, despite only having one EP to her credit, has been a polarizing figure in this industry. The fact that she’s a digital avatar of an artist who we’ve yet to really be introduced to has rubbed many the wrong way. Some see the gimmick as a messier version of what Gorillaz does, some see it as an intelligent metaphor for how digital and fake music has become. Regardless, Ulala’s career has been messy. Her EP, released toward the later half of 2019, opened to mixed to negative response from critics and quickly faded from the charts. So the announcement of her debut full length album came as something of a surprise, many thinking we wouldn’t be hearing from her again. Heading into the album with a lofty title and even loftier conceptual ambitions, we found ourselves curious for what we would find.

The album doesn’t get started on a particularly positive note. “Glockenpop” carries with it the same juvinile feel that her EP did and not for the better. The song’s melody is eerily reminicent of something you’d find on a Nick Jr. show and the production sounds just as undercooked and underwhelming. Lyrically the song feels like a draft that doesn’t really go anywhere. Conceptually speaking the song has an interesting premice about mocking herself and her own standing as a pop singer but that meaning is lost entirely within the song leaving it a sluggish opener despite it’s short runtime. “California” picks things up considerablly. Lyrically discussing the impact that polarized reception that her first work recieved, Ulala offers up something that was so desperately missing from that work: vulnerability and honesty. Production wise the song isn’t anywhere near as strong, again featuring the juvinile sound, but the lyrics and a fairly passionate vocal performance (with a memorable melody) keep the song floating. “Night Time” is a curious track that deals with social media addiction. It’s a sharp diversion from the topics and concepts that we got in the opening duo of songs, but production wise it still remains consistent. The lyrics in the verses are far surperior to the annoyingly repetative chorus, yet they don’t feel entirely purposeful due to Ulala’s bored delivery. The production is once more nothing of note and leaves the song feeling like filler way too quickly into the runtime of the album. Once more swinging into different territory, “Milk Bath” is an innudendo laden track that with production that sounds like it’s snatched straigh from Lilo and Sticth’s soundtrack and a vocal performance similar to Tones & I. The song isn’t all that sexy or really all that fun despite Ulala’s better efforts. It lands as another forettable addition to the album. The album’s current single “Dune Buggy” doesn’t improve in context of the album. The song’s melody is irritating, as are the vocals. The song really has no direction, it lumbers along making a song under 3 minutes feel like it takes forever to get through. The song feels throwaway to the highest order and it begs the question of why it was chosen as the lead.

“Walk Away” thankfully picks things up significantly. The song’s lyrics are pretty inconsequential but it’s groove, infectious melody, and nostalgic production do much to endear the song to the listener. It sticks out not just for being quality, but it also sounds nothing like what comes before it on the album which would have to be the biggest detraction from the song overall. The album takes a slide again though with “ShibuyaK”, something that feels lifted straight from her EP. As was mentioned then, there’s nothing wrong with singing in another language within an album butt the quality of the song has to back up the shift and here it doesn’t. The production is dated, too shiny for it’s own good, and once more reeks of Saturday morning kids shows. “Kimino Mikata” is total nonesense (although this seems to be on purpose) and that nonsense is used as some sort of backing for an admirable message that just doesn’t come through. The production is once more abysmally dated and ill refined and the vocals are particularly grating. “Big City” is an English-Japanese hybrid and while it’s an interesting idea, the execution leaves much to be desired. The production is, as most of the album, dated and bland. The vocals are messy, the lyricism even messier. It feels cut from the same cloth as the other lesser tracks on the album and by this point in the runtime, it’s a little too much to handle. The album closes on a solo version of Ulala’s debut single and the decision to do it alone improves the song significantly as no artist is fighting for a voice. That being said, the production is still dated and the Aaliyah and Jennie assisted lyrics leave a lot to be desired.

Ulala certainly hasn’t changed much since we first heard her EP last year. This full length work makes all of the same mistakes of that project: bad production, juvenile writing, and a real confused identity. The album feels rushed and directionless. Though there’s some interesting ideas presented in the individual songs, nothing relates to each other, nothing fits together and it leaves the album making little sense. The project does feature a handful of good songs and those songs elevate this project considerablly, but the bad songs, of which there are many, drag it down just as much. Though it is an improvement over the EP, the project still lacks a spark of genuine creativity to bring it to life. It feels like a throwaway effort and with talented names such as the attention grabbing newcomer Declan McKenna on the roster, it’s a shame something better couldn’t come out in the end.

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wopcalmetacriticthings · 4 years

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Pitchfork - Ambition by Shawn Mendes

Score: 8.5/10 Shawn Mendes has unarguably been one of the most controversial, outspoken and talked about celebrities of the past decade. Ever since he broke out onto the scene in 2017 with his debut album ‘Revelation’, he’s always found a way to get himself a headline. Whether it be for his very public relationships with the likes of Cameron Dallas and Nick Jonas, his feuds with other celebrities and political figures or his philanthropic efforts for queer communities and disadvantaged children. All of the above is mentioned in his brand new, third studio album ‘Ambition’. Promotion for the ‘Ambition’ album began with the release of the lead single ‘Still Breathing’, which became his very first #1 hit on the Billboard Hot 100 without the help of Olly Alexander. Now that the full album has been released, it’s understandable as to why ‘Still Breathing’ was chosen as the lead single. It’s catchy, uptempo and a relatable track. However, as good as it may be, it happens to be one of the weaker cuts on the whole album. The ‘Ambition’ album is much like a juicy memoir. It gives us the inside scoop on the celebrity life of Shawn Mendes, which we have all seen evolve over the years, and it’s well written enough to keep us on our toes and keep us listening to hear all of Mendes’ confessions. ‘Still Breathing’ is a very well written song but a vast majority of this album is so much more surprising, entertaining and engaging than the lead single. A perfect example of this is ‘Better Off’, possibly the best song on the album. The song is very obviously directed towards his allegedly abusive ex-boyfriend, Nick Jonas, and it ticks all the boxes. It’s got an incredibly energetic and heartfelt performance from Mendes, a crazy, loud and well produced instrumental and a killer chorus. The line “I let myself trust someone new / And he loves me more than you ever pretended to”, referring to his current flame Cameron Dallas, is genius and an unforgettable line that will likely be used for many Instagram captions. Mendes has no shame professing his love for Dallas on the album, as he does with the songs ‘Roses’, ‘Chasing Cars’ and ‘Wildest Dreams’. ‘Roses’ is a very well written ballad, which is akin to ballads Diane Warren made millions out of writing in the ‘90s. ‘Chasing Cars’ is a beautiful soft rock song, which feels nostalgic in a way as the imagery and sweet but sombre instrumental call on the listener to think of the simpler times in their lives as they “lie with [him] and just forget the world”. Although I give Mendes credit for not recycling the formula from these two songs for the third Dallas-inspired track ‘Wildest Dreams’, it does end up being the weakest track of the three and possibly the weakest track on the album. The song successfully hooks us in right at the beginning, as Mendes sings about wanting to accept a ring from Dallas and spend the rest of his life with him. However, once we get to the extremely long chorus section about two minutes in, he starts to lose our attention. The guitar-led instrumental is constantly building up to something bigger and better that never really seems to come. The song in itself definitely goes on for too long and could’ve been better utilised as a shorter interlude or 2-3 minute song. Only one song into the album, it becomes very clear why Mendes titled the album ‘Ambition’. When he isn’t singing about love, he’s usually singing about his portrayal in the media and he’s reflecting on how he feels he’s been overly ambitious in his efforts to save the world. The killer lines “I am not a king / I won’t save the world / I am not a god / I’m just recklessly concerned” on the opener ‘I Am (Not)’ show off Mendes’ self awareness in his situation. ‘If These Walls Could Talk’ serves as his version of Britney Spears’ 2008 hit ‘Piece Of Me’, although Mendes’ version definitely isn’t meant for the dance floor. The song in itself is very much a big middle finger to the media, in which Mendes urges the paparazzi to leave him alone. It’s a perfect example of how the album serves like a musical memoir, taking us into the fabulous life of Mendes we’ve been dying to hear about since his last album. A similarly themed song that could’ve worked as the lead single of the album is ‘New York City’. An uptempo and bright song about the life of a creative in New York City, where there’s always someone better than you. It’s refreshing to hear Mendes coming back down to earth with the rest of us and reminiscing on life as a yet-unaccomplished creative .. And who can resist that funky beat? There is not a single dull moment on ‘Ambition’, although this definitely is an album that has its highs and its somewhat less highs within the mix (such as 'Wildest Dreams', as mentioned before, but also 'Human', a decent track with a pretty lacklustre hook). Whether or not ‘Ambition’ has topped Mendes’ highly acclaimed and Grammy winning debut ‘Revelation’ is up for questioning. ‘Revelation’ was very current and extremely impressive for a 19 year old to have written. It was packed with emotion, honesty and a variety of topics. ‘Ambition’, however, is Mendes from a much wiser and more adult perspective. Rather than writing about the world around him, he is mostly writing about his own life, his own experiences and his own journey to where he is now. He’s a lot more in tune with his artistic persona, sound and vision and the album itself is well curated, with most of the songs on the album sticking to a certain theme or at least relating to the songs around it on the tracklist. Overall, Mendes has failed to disappoint us once again and has given us another offering, worthy of acclaim and respect from those who have doubted Mendes’ abilities and talents over the years. This album is a must listen for pop and rock fans in general and will surely be very entertaining for those that have followed his life in the tabloids over the years. BEST TRACKS: I Am (Not), Mysterious Skin, If These Walls Could Talk, Roses, Chasing Cars, New York City

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wopcalmetacriticthings · 4 years

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Consequence of Sound - Ambition by Shawn Mendes

Shawn takes us to visit what he has gone through since his previous release, gives us a chance to get into his mind and shares his thoughts about his place in the industry, the choices he made and the things he earned. Get ready for the real & all grown up Shawn! To talk about the lyrical aspect of this record, you can see, feel and understand the fact that Shawn is becoming more and more mature. The intro can already tell you that. A delicate introduction to the album starts with very "real" lyrics, Shawn basically accepts his behaviours and owns up to his truth. It's good but "Mysterious Skin" starts to capture your attention "for real" as you can see how he gives his listeners some of his deep thoughts about "becoming someone that he doesn't know sometimes". He gets real about his reputation in the music industry too, talking about his name being used by the tabloids he tells his listeners that he's not going to care anymore. From starting a new life in New York to giving a huge shout to his hometown Toronto. From his highly publicized break up story with another singer to finding love again and living it better than ever. He gets real about his love life too, talking about his wildest dreams and revealing one great secret during one of the songs. (We're not going to tell it, go listen and find it yourselves!) Basically Mendes bares it all, showing every single details of his life and well, looks like he's not ashamed of what happened to him or what he did before. He puts all bad history aside and is ready to move on to become a better human. The theme of this album is something everyone can relate too, the lyrical execution of this record is amazing. Great delivery there Mr. Mendes! But production wise; this project has some dud moments even though the lyrical content try to save it. The build-up to chorus at "I Am (Not)" gives you the excitement but the chorus feels unfinished, it's like there is something missing. "If These Walls Could Talk" makes you want to expect more too, well it gives something. Not the "heartbeat" but the strong melody it becomes during the final chorus and hook...and that was about it. Thank God all the other tracks captivate you both lyrically and sonically somehow. And thanks to his vocal delivery, it informs you that this album has a good potential. Score: 85 Favorites: Better Off, Roses, New York City & Human

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wopcalmetacriticthings · 4 years

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Entertainment Weekly - Ambition by Shawn Mendes

I Am (Not) - 9/10 Mysterious Skin - 9/10 If These Walls Could Talk - 10/10 Better Off - 10/10 Still Breathing - 9/10 Roses - 10/10 Chasing Cars - 10/10 Wildest Dreams - 10/10 New York City- 9/10 Lights of Home - 10/10 Human - 10/10 Destination Unknown -9/10 Total: 95/100 Following the release the #1 hit 'Still Breathing' Shawn Mendes unleashes his self reflective, heart wrenching third studio album, Ambition. Ambition tackles topics like false narratives, self reflection, self evolution, struggling with perfectionism, and of course some love songs about his now revealed fiancee, Cameron Dallas. We start the album off with the stellar and self reflective 'I Am (Not)' where Shawn opens up about realizing his self-righteous behavior and though he has good intentions... He can't change the world's morals to match his own. Next up is 'Mysterious Skin', which is another great track where Shawn tackles his self identity and not feeling like himself. The instrumental of the song is definitely.a great change in sound for Mendes and a true highlight of the album. After that is 'If These Wall Could Talk' where he details his feelings about the media and how he feels about not being able to respond the way he would like. The piano arrangement was a nice change sonically. Next is the explosive 'Better Off' where Shawn speaks on his past relationship and how much better he is now that he's cut the dead weight. The angsty production is again another great change of pace sonically. Following that is the smash hit 'Still Breathing' where he talks about the recovery process from falling to rock bottom. The instrumental give a very hopeful feeling, but still gives him the space to reference the lows. Next up is what we would cosigner the 1-2-3 punch of the album. 'Roses' is a beautiful song about reconnecting with a lost love on piano arrangement, which is a real tear jerker with an incredible bridge. Followed by 'Chasing Cars', which is your typical love song, but naturally progresses until it explodes, which really did something truly amazing for the song. After that is 'Wildest Dreams' where Shawn lays out all his dreams on the table and with some would say a risky chorus that because of the progression really works out it in his favor. The following track 'New York City' is a great song about the unique and incredible energy New York City has to offer. The arrangement of the song really gives a unique feeling most songs about the city have yet ti produce. The next track is 'Lights of Home' which is brought home by a final outro featuring his friends and family that really makes the message of his home of Toronto being his safe space come full circle. On the second to last track 'Human' Shawn tackles his struggle with perfectionism, how it's unrealistic, and that his desire to allow himself to be human. The message of the song is definitely the highlight with decent production. Lastly we end the album with the stellar 'Destination Unknown' where Shawn talks about the future and though he may not know where he'll end up... He's ready for whatever life has in store for him over a piano arrangement. A beautiful ending to the album. All in all, Shawn Mendes came, he saw, and he conquered. Ambition is what listener's would want to hear from an artist this far into their career. This album was where he either decided to fall in line or take a risk and we can say that he took a risk and it paid off. This isn't a regular, old Shawn Mendes album. It's a new and improved Shawn with everything you love about him, but with a more evolved output.

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wopcalmetacriticthings · 4 years

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Variety - Ambition by Shawn Mendes

It’s been a hot minute since we’ve gotten a solo Shawn Mendes album and it shows. The music scene has changed a LOT since his Grammy nominated album Evolution came out and that raised a lot of questions for music fans. Would Shawn be able to make it in this newer scene? Would he be able to adapt to the trends? But what everyone was missing was the fact that Shawn Mendes doesn’t need to do any of that. He doesn’t need to adapt to trends because he’s really the trendsetter. Artists may not be breaking out their guitars or anything, but Shawn sets the tone. The newest offering from the pop prince, Ambition, is no different. Billed as the third in a trilogy of albums that make up a musical autobiography of Shawn, Ambition has arrived to a wave of hype that many artists only dream of. Shawn continued his hot streak, making him 3 for 3 in amazing albums.

The album kicks off with “I Am (Not)” which is one of the more chill songs in terms of production. It’s not all that complex musically but it’s simple musical arrangement lets Shawn’s words take center stage. This is a really ballsy opening number because it shows Shawn directly commenting on his controversial persona. He talks about how he’s aware that he’s not the savior of earth that he often acts like he is and makes a big point to say he wants to curb that behavior. It’s refreshing to see an artist so willing to deconstruct themselves the way Shawn is. An amazing track. “Mysterious Skin” is about Shawn learning to live as a celebrity. He asks himself if he made the right choices and if the kid who first got famous on Vine would like the man he ended up becoming. The song’s production is wild and full of sound effects and cool guitar work. It’s one of the most interestingly produced songs on the album. The lyrics are also really interesting and this kind of question is an important one, and it’s cool to see Shawn’s whole thought process on the whole thing. It’s not the best track on the whole album, but it’s a damn good one. “If These Walls Could Talk” is Shawn settling the score with the media once and for all. Shawn is often bullied in the media and this is the first time that he’s ever really fought back. The lyrics are defiant and frustrated, but he never lets himself get too angry. The simple piano arrangement and super subtle beat make it an intoxicatingly produced track. It drips with it’s intentions and it stands out on an album of stand outs. “Better Off” continues Shawn’s defiance. Though he revealed to the world what happened between him and Nick Jonas on his last album, he never really took the subject head on in his music and never got any sort of creative closure on the subject. All that changes with this track. It’s one of the most experimental production tracks on the album. There’s always something interesting happening and it’s never predictable where it’s gonna go. The lyrics are also biting and the power that sits behind them is thrilling. Shawn’s not here to be jerked around and he stands up for himself here. It’s inspiring to see a victim taking control again, and it makes this a vital track.

“Still Breathing” was the perfect lead single for this album and it’s still a powerful and moving track. The production is some of the strongest on the whole album, especially in the bridge. This is one of the most emotional songs on the album but in a good way. Shawn has never been afraid to talk about his struggles with mental health and it feels good to see him happy and taking back his life. The importance of this song can’t be overstated, honestly. “Roses” is one of two songs about Shawn’s current love life. The song talks about how he and Cameron fell back in love after initially walking away from each other and it also shares Shawn’s dreams for their future. The production is simple and absolutely stunning and the lyrics are so sweet that you feel the love bleeding from every note played and sung. Love songs can be really cheesy but this one feels totally from the heart. As does the next one, “Chasing Cars”. This one is different from the previous because it reveals how powerful Shawn’s love is for Cameron and reveals just how deep his connection to the love of his life is. It’s been said that it’s impossible to describe what love feels like but Shawn just about manages it on this eye wateringly gorgeous banger. “Wildest Dreams” is without a doubt the most ambitious song on the album. Nearly six minutes long, Shawn lays out every dream and desire he has for his life and the lives of the people around him. The structure of one instrument coming in at a time is fresh and interesting and by the time the song explodes into a giant wall of sound near the end, it’s one of the most beautiful musical moments of the last few years. This track is one of Shawn’s absolute best.

“New York City” is a fitting tribute to the place that gave Shawn the raw ambition that drives his life today. The guitar melody is one of the most electrifying of his career. However the song as a whole doesn’t quite reach up to the heights of the rest of the album. It’s far from a bad song, but it’s not as bulletproof as other cuts from the album. Still, that melody! “Lights of Home” is a song all about Shawn’s support system and the importance of one’s roots. Featuring vocals from Shawn’s family and best friends, this is a deeply personal track. The production is the most majestic on the whole album. It’s borderline cinematic in it’s grandness. “Human” is sort of a follow up to Still Breathing, this time discussing Shawn finally allowing himself to be fallable. He’s known for being a perfectionist to the point that he’s been hospitalized for exhaustion. But he’s saying here that those days are behind him and that he intends to embrace the mistakes he’s made and will make as they make him part of the human race. The production is again outstanding and the orchestral part espcially stands out. The album closes on the intimate and beautiful “Destination Unknown” which sees Shawn finally excited for his future. He doesn’t wanna plan it all out, he just wants to live and experience life. It’s a fitting end to this astounding journey.

This as of now is Shawn’s magnum opus. Every song feels labored over, every note sounds like it’s coming from Shawn’s heart. The album is creative, it’s innovative, it’s forward thinking, and one of the most satisfying listens that you’ll find out there. Every song could be a hit but none of them are factory made to be hits. Shawn has never been more personal or open and vulnerable than he is on this album and it’s jaw dropping to see how he continues to grow. Ambition is...well ambitious and an early candidate for album of the year.

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wopcalmetacriticthings · 4 years

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Clash Music - CALM by 5 Seconds of Summer

5 Seconds of Summer - "CALM"

Australian pop-rock band brought their mature selves to this record. If we speak about the overall look of this project, the writing shows that. Even though this project isn't as "instant" or "strong" as their previous - "Youngblood" - this is still a stellar record. We caught ourselves "toe-tapping" to the intro of the record, "Red Desert". A great kickstarter. The second song, "No Shame" is like a little look back to Youngblood. With its catchy chorus, it's a song that is a highlight on the album. "Easier", a total radio candy track that is screaming to be a hit. Kinda sounds like some songs we heard before. The pre-chorus is the best part of that one. The fourth track, "Teeth", which is one of the singles, is a total banger. It has this throwback grudge vibes to it and that is definitely what they haven't done before. An acoustic-into-soft rock, "Lover of Mine", is the fifth track. It's very plain and seems like a filler on the album. The pre-chorus was the only hitting part. "Thin White Lies", is driven by a dark acoustic guitar and a twangy beat in the background. The lyrics really fit the songs vibe. Stands out among most of the other tracks. The seventh track, "Lonely Heart", is another standout track. The acoustic bulid into a catchy chorus makes for a concert-goers dream track. "Wildflower", seems very plain in the beginning, but as soon as the chorus kicks in, it sounds very 80's-popish. Blocking out lyrics in the chorus so every listener has their own idea of the blank is very creative to me. The "bop" of this record, definitely will be a fan-favorite. "Best Years", is the first ballad-ish song on the album, with lyrics about a deep love. The singer's vocals work great with the soft instrumental and the strong chorus. "Old Me" is another dud one. It gives you this huge expectation for an explosive chorus but it just doesn't go anywhere. Another filler but thankfully the outro of the standard edition keeps it safe and closes the album beautifully. "High" is such a soft ballad with deep/meaningful lyrics, it's like a perfect song to listen to after a break up. The guitar fits the singer's lyrics perfectly. A perfect conclusion to an all-around album. If we get into the deluxe edition, we probably realize why those two didn't make the cut. None of them would fit. Kill My Time is the second "Wildflower" of this project. A cute one. "Not In The Same Way" is another filler. It's good but goes nowhere after the first minute. Best Tracks: High, Teeth, Red Desert & Wildflower Worst Tracks: Old Me, Lover of Mine & Not in the Same Way

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wopcalmetacriticthings · 4 years

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The AV Club - CALM by 5 Seconds of Sumer

5 Seconds of Summer are back with their new album, titled “CALM”. Released under Columbia Records. The group have accomplished a new sound which makes this album sound different and definitely a unique one out of their catalogue. The new album has it highs and lows, that being said it is time to review the album for you!

Some of the album strong points was that majority of the songs have validated the members of 5SOS as songwriters. On tracks like “Old Me” and the bonus track “Kill My Time”. Speaking of strong points, we should praise the group use of the guitar instrument because it made the album sound more cohesive. On tracks like “Teeth” and “Lonely Heart”. Speaking of the track “Lonely Heart”, It has to be one of the best tracks on the album. Curious to know which songs we liked the most? Read till the end!

A lot of people might think a pop-rock group like 5 seconds of summer cannot deliver a stripped down song that makes you feel butterflies in your chest. But fear not! Because 5 seconds of summer have given us quite a few in this full length album. Starting with “Thin White Lies”, having a strong production, this meaning the chorus being great and the verses as well! Not to mention the lyrics are fantastic for the groups’ standards. Another song we have enjoyed was Best Years, same situation as “Thin White Lies”, the song portrays perfection at its finest!

Not a lot of tracks have hit the home run as the tracks we have mentioned above. Sadly “Lover of Mine “felt really empty and really out of place. Accompanied by the three opening tracks, “Red Desert”, “No Shame” and “Easier”. All have lacked something. Creating a song can be difficult, picking out the perfect production, the vocal cuts and the lyrics. We get it! It can be hectic. But as a group as big as 5SOS, they have to be extra caution as they can be sloppy at times. Wither it was with production, vocals or lyrics.

And the tracks that were really basic to our ears were “Wild Flower” and “High”. “Wild Flower” having a really boring chorus but strong verses and bridge. The vocals however were sloppy on that track. Although “High” shows a vulnerable side of 5sos, the choruses were weak and the verses were as well. They share the same soft vocals as “Red Desert” but even better!

Overall the album is nothing but a good album. Something for a road trip, or on a chill bed. 5 seconds of summer have shown growth in the album.

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wopcalmetacriticthings · 4 years

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No Ripcord - CALM by 5 Seconds of Summer

C A L M

82/100

It’s been two years since we last heard from 5 Seconds of Summer. Their album Youngblood was a huge reinvention for the Australian fouresome and it resulted in the then best album of their career. Heading into this new album, titled CALM, there wasn’t much in the way of promotion so the expectations for the album were ones of quality but shrounded in mystery. Nobody knew what sound they were gonna take on or what sound we’d get from this time. Turns out it’s similar to their previous work, but a bit more mature and well thought out.

Opener “Red Desert” gets everything kicked off with a triumphant jump forward. The production is fantastic and highlights lead singer Luke Hemmings’ vocal interplay with his bandmates exceptionally well. “No Shame” continues this trend and adds in an earworm melody (something that’ll happen pretty often throughout this project). The band is connected tightly on this one and they work their way through an exciting soundscape with ease and energy. “Easier” isn’t up to the standards of the first two tracks, taking a slight step back. The melody isn’t all that great and at times Luke sounds like he’s not paying much attention. That being said the production is strong on this one and it keeps the song afloat. The album’s first perfect track comes in the lead single “Teeth”. With intelligent lyrics, a playful performance from the band, and an odd but memorable melody all combine together to make a real standout. “Lover of Mine” keeps this up. It’s a more simple track but still keeps on the beautiful melodic path the band has set down. The production really highlights that melody as well. Continuing on the perfect tracks is “Thin White Lines”. The verses are good but the chorus is where this song really reaches it’s zenith. The melody, Luke’s smooth delivery, and the bands perfect backing make this an early candidate for a radio hit.

“Lonely Heart” boasts another solid melody but it’s not as smoothly refined as the previous three. It’s still a great song and the production is once more rock solid, but it’s not quite the gem as the triple punch that preceeded it. “Wildflower” takes another step down with a song that feels decidedly Beatles but without the sprinkles of electricty The Beatles brought in. The band sounds as if they were narrowed in on a specific sound and were so lazer focused on getting it that it lost some of the energy and life along the way. Still, it’s not a skippable track and boasts the best harmonies the album sees. “Best Years” is a nice song, but it feels like filler. There’s not much life in it and the band sounds almost bored with the pace. There’s nothing wrong with slowing down, but the artist(s) need to be interested in it and here it doesn’t sound like they are. It feels there to get this to album length. And the same can be said for “Old Me” , the most old 5SOS sounding track here. The writing isn’t as sharp and the playing feels somewhat sloppy, like they couldn’t make everything click. But they make up for it on “High”, an amazing three minute closer. The melody again is catchy and memorable, the writing smart, and the performances tight and confident.

CALM as a whole package just inches ahead of Youngblood to be 5SOS’ best. And while some tracks on Youngblood go higher than this album’s high, that album didn’t feel as tight and cohesive as this one. This is the sound of a band that’s confident in their sound and willing to do something a little different than what people probably were banking on. These are some of the best melodies of any songs we’ve heard these last few years. The production is just as good as well. The band feels tight and connected and even the lowpoints are still somewhat fun. 5SOS can add another win to their record on this one.

Red Desert 8/10

No Shame 8/10

Easier 7/10

Teeth 10/10

Lover of Mine 10/10

Thin White Lies 10/10

Lonely Heart 8/10

Wildflower 7/10

Best Years 6/10

Old Me 6/10

High 10/10

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wopcalmetacriticthings · 4 years

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Entertainment Weekly - CALM by 5 Seconds of Summer

5SOS

CALM

8.4/10

5SOS have returned with a new album, the follow up to their as of then career masterstroke Youngblood. Considered to be the album where 5S0S finally found their sound, it brought the band new fans and renewed confidence within the band in their ability to change with the times. In the lead up to their new album CALM, there wasn’t much promotion other than a few singles and videos, so there was a lot of questions around the album. Could they replicate the magic of Youngblood? In short, yes.

CALM is without a doubt the best album of the band’s career up to now. It’s more mature, slickly produced, confidently written, wonderfully played and perfectly packaged. You’re arguablly not going to find a tighter set of melodies on any mainstream album for the rest of the year. Each song has a memorable melody to it which is delivered beautifully by the band, mostly lead singer Luke Hemmings. It’s clear that they’ve all worked hard to refine their vocals as a group and it paid off. The melody alone pushes some of these songs to be considerablly more than they would be without them. The maturity of the album is also a high point. These guys have grown up, they don’t write and sing like the bratty teenagers that they once were. They sound like men who are confident in their abilities as songwriters and musicians and the album is all the better for it.

However it’s not perfect. The big thing that is missing from this album is mostly the vocals of Calum and Michael. On their first two albums, the vocal duties were pretty even split. Youngblood placed a little more focus on Luke but the others still hand standout moments. However by this point, Luke is pretty much the main attraction. And while this is common for bands (focusing on one lead singer), the thing that made 5S0S so different was the shared vocals. Not that Luke isn’t up to it, he certainly is and he sounds the best that he ever has, but his interplay with the rest of the band is missed. It should also be noted that the album’s a quick listen. While the songs are all mostly great, it would’ve been great if some of the songs were given more room to breathe and develop.

CALM is without a doubt the best offering from the band. Though they sound like an entirely different band from the one found on their self-titled debut, it’s for the better. They’re tighter than they’ve ever been as a unit and they’ve delivered a set of songs that set them apart from the other acts cut from their cloth. With unbeatable melodies and distinctive writing, 5S0S has proved that they’re here to stay and we couldn’t be happier.

STANDOUT TRACKS: Red Desert, Teeth, Thin White Lies, High

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