★ ★ ★ ★ 1/2 out of 5
Thanks to the unfortunate overexposure of her insanely catchy "Call Me Maybe" single in 2012, Canadian pop artist Carly Rae Jepsen has constantly been linked to the career damaging one-hit wonder status. It's unfortunate. Even though the track's parent album, Kiss, had some evident missteps, it embodied the idea of "pop music" better than most efforts released that same year. "Tonight I'm Getting Over You"? Masterpiece.
Fast forward to 2015, following a couple of years away from the music scene, and the artist returned with an equally as addictive album lead single and a new found sense of confidence and sophistication. "I Really Like You" may not have been a groundbreaking single, however, it was tailored for summer radio takeover and just the adorable release she needed to jump start her image and the promotion for E•MO•TION, her third studio album.
Following a slew of song premieres, including official singles "I Really Like You" and "Run Away With You", Jepsen's latest full length effort is being applauded by many critics for its 80s influences, crisp production and emotive vocal performances, even labeling it the best pop release of the year. The praise is not shocking. What caused the artist to stumble on the last go-around has been perfected and made more accessible, creating the most effortless release in recent time.
The album opens with the 80s-leaning, retro-styled, instant pop masterpiece "Run Away With Me", a shining release that will be hard to escape once those first jazz notes come through the speaker. "Oh baby, take me to the feeling, I'll be your sinner in secret, when the lights go out, run away with me," Jepsen sings on the infectious and adorable chorus, one produced by hitmaker Shellback. It screams for constant airplay and stays true to the singer's bubbly personality.
For the title track, Jepsen and her team seem to smartly dial back on the pop production in order to let the artist shine while being supported with a contagious guitar riff, an instrument that does the heavy lifting on the track's infectious hook. "E•MO•TION" follows a similar structure and progression of a few previous Jepsen releases, however, once the sultry tone of the chorus rolls around, the track is singing a completely different and fresh tune.
"I Really Like You" tried to follow in the footsteps of Jepsen's 2012 mega hit, but came up a little short in the long run. The sugary sweet, repetitive nature of the lead single's chorus is cause for eye rolls, Jepsen ends up singing the word "really" about 60 times throughout the three and a half minute track, but there's no denying that listeners sang along with every damn one of them. It may be a slightly formulaic pop song but it's power should not have been underestimated.
The somewhat childish, lovesick nature of most Jepsen efforts dominates the overall vibe of "Gimmie Love", a sugar-filled ballad that puts a spotlight on the artist's vocal delivery and would not sound out of place on a future Swift pop album. Hearing Jepsen beg and plead to feel something in a relationship sounds sincere, especially when the loud production has been stripped back and the songwriting comes off real and unforced. It's a welcomed change of pace for the album.
For an traditioal ballad on a predominantly 80s-inspired pop record, "All That" is unexpected, and the main reason it succeeds. While the low tone and lyrical content create a slightly somber and heartbreaking mood, the slow progression instantly captivates and builds to a knockout chorus that may get tragically overlooked. "I'll be your lighthouse when you're lost at sea, I'll keep my light on, baby, you can always come to me," the artist seductively sings.
Listeners will get lost in the 90s-leaning, bubblegum pop nature of the Sia-penned "Boy Problems", an insanely catchy tune that finds Jepsen shaking off the remnants of a previous lover. Think "99 Problems" if it was somehow released during the era of Britney Spears, Jessica Simpson and Many Moore. The carefree vibe may turn off some fans and critics, but in context with entire album, it's a perfect fit for the artist and an irresistible, tops-down, summer smash.
Also written by fellow pop heavyweight Sia, the shimmering "Making the Most of the Night" is a beautifully somber story of being given a short amount of time to show love for another soul. With heavy, dominating percussion, the song shares some qualities with the rest of the preceding tracks, but with its unique "finding light in the dark" message and energetic performance, is able to stand on its own as well. It gives a new, exciting layer to the new album's overall sound.
"Your Type", the seventh track revealed prior to the album's release, is yet another electronic, 80s-influenced effort that relies on a synth-heavy beat and lyrical content that paints a slightly disheartening picture of a woman wanting to be more than friends with the man who has caught her attention. "I'm not the type of girl for you, and I'm not going to pretend, I'm not the type of girl you call more than a friend," she sings with a sense of melancholy in her voice.
The bubblegum pop sound is predominantly featured once again on "Let's Get Lost", a sax supported, lovesick effort that finds Jepsen hoping that her lover goes out of their way to show her love. The track may sound underwhelming during the opening verse, however, when the joyous chorus comes through, the song transforms into something completely different, catchy and contagious. Not the album's best cut, but certainly a fun, radio-ready bop.
There's a sassy, somewhat catty, change of pace for the album when the media bashing "LA Hallucinations" first comes through the speakers. With a slight hip-hop leaning beat, Jepsen sings of how fame tends to change people. "Buzzfeed buzzards and TMZ crows, what can I say that you don't already know," the artist chants as she second guesses her time in the spotlight. While not a crowning moment, the track easily wins points for originality and sparkling production.
The dreamy, dark and weightless "Warm Blood" continues the artist's streak of home runs. Besides the moody, disco-tinged production, the highlight of the track lies with Jepsen's convincing, distorted vocal performance, showing she's much better than her debut hit. As it opens with an honest confession about a blooming relationship, it sets off a rollercoaster of emotions. Those mixed emotions are represented beautifully by the contrasting optimistic songwriting and eerie production.
Jepsen somehow turns a soul-crushing breakup into a bright, joyous moment of self-discovery on "When I Needed You", complete with a heartbreaking hook that quickly changes into a message of strength and independence. Paired with eclipsing percussion and a dash of 80s synths, the track is one of the better revenge songs in recent memory, where the artist sounds confident as she turns a cheek to a man who seems to have not appreciated her as much as she deserved to be.
"Black Heart", the shortest track on the album, immediately worries listeners by putting forth a heavy electronic beat introduction and a robotic-like vocal delivery, however, Jepsen breathes enjoyable life into the words and allows the song to become a refreshing change of tone. The artist seems to fighting to win over the man of her dreams, cutting through the cracks of his concrete heart. While not cohesive with the rest of the track list, it definitely screams for attention.
The euphoria of 90s house and dance era comes alive on the brilliant "I Didn't Just Come To Dance", a future club floor staple. Jepsen effortlessly glides across an incredible, uplifting beat as the artist sings of a risque encounter with a lover. "Baby I, I'm not going anywhere without you, walk me home cause I like every single thing about you," she sings as she sets her eyes on the boy standing alone in the corner. The song is a bright, impressive, mature moment for Jepsen.
The album closes out with "Favourite Colour", at least for those who purchased a deluxe version. While the last track is a good effort, the slow, sweet and emotional number does not do anything exciting or memorable when everything comes to and end. Jepsen's vocals are gentle and soothing, a commendable aspect of the song, but when everything is said and done, the ballad-esque offering will more than likely be forgotten, especially when put head-to-head with the rest of the track list.
E•MO•TION is easily one of the most exciting, complex and enjoyable offerings of 2015, and definitely takes the crown for most innovative pop record. Jepsen has been counted out ever since she found massive success in 2012, but the determined artist seems to have focused on the complete package of her third studio album. The hardwork and innovation is noticeable as the listener is transported to the 80s decade with pulsating synths, hard-hitting drums and sultry vocal performances throughout the 15-track effort. Never does the album overstay its welcome, never does it sound outdated or forced. Jepsen, and her talented team of producers, seem to have made a cohesive effort that has sent most critics into a frenzy. Call her a one-hit wonder if you desire, but Jepsen just put almost every artist to shame.
Tracks to Hear: "Run Away With Me", "Making the Most of the Night", "Your Type", "Warm Blood" and "I Didn't Just Come Here to Dance"
Also written by fellow pop heavyweight Sia, the shimmering "Making the Most of the Night" is a beautifully somber story of being given a short amount of time to show love for another soul. With heavy, dominating percussion, the song shares some qualities with the rest of the preceding tracks, but with its unique "finding light in the dark" message and energetic performance, is able to stand on its own as well. It gives a new, exciting layer to the new album's overall sound.
"Your Type", the seventh track revealed prior to the album's release, is yet another electronic, 80s-influenced effort that relies on a synth-heavy beat and lyrical content that paints a slightly disheartening picture of a woman wanting to be more than friends with the man who has caught her attention. "I'm not the type of girl for you, and I'm not going to pretend, I'm not the type of girl you call more than a friend," she sings with a sense of melancholy in her voice.
The bubblegum pop sound is predominantly featured once again on "Let's Get Lost", a sax supported, lovesick effort that finds Jepsen hoping that her lover goes out of their way to show her love. The track may sound underwhelming during the opening verse, however, when the joyous chorus comes through, the song transforms into something completely different, catchy and contagious. Not the album's best cut, but certainly a fun, radio-ready bop.
There's a sassy, somewhat catty, change of pace for the album when the media bashing "LA Hallucinations" first comes through the speakers. With a slight hip-hop leaning beat, Jepsen sings of how fame tends to change people. "Buzzfeed buzzards and TMZ crows, what can I say that you don't already know," the artist chants as she second guesses her time in the spotlight. While not a crowning moment, the track easily wins points for originality and sparkling production.
The dreamy, dark and weightless "Warm Blood" continues the artist's streak of home runs. Besides the moody, disco-tinged production, the highlight of the track lies with Jepsen's convincing, distorted vocal performance, showing she's much better than her debut hit. As it opens with an honest confession about a blooming relationship, it sets off a rollercoaster of emotions. Those mixed emotions are represented beautifully by the contrasting optimistic songwriting and eerie production.
Jepsen somehow turns a soul-crushing breakup into a bright, joyous moment of self-discovery on "When I Needed You", complete with a heartbreaking hook that quickly changes into a message of strength and independence. Paired with eclipsing percussion and a dash of 80s synths, the track is one of the better revenge songs in recent memory, where the artist sounds confident as she turns a cheek to a man who seems to have not appreciated her as much as she deserved to be.
"Black Heart", the shortest track on the album, immediately worries listeners by putting forth a heavy electronic beat introduction and a robotic-like vocal delivery, however, Jepsen breathes enjoyable life into the words and allows the song to become a refreshing change of tone. The artist seems to fighting to win over the man of her dreams, cutting through the cracks of his concrete heart. While not cohesive with the rest of the track list, it definitely screams for attention.
The euphoria of 90s house and dance era comes alive on the brilliant "I Didn't Just Come To Dance", a future club floor staple. Jepsen effortlessly glides across an incredible, uplifting beat as the artist sings of a risque encounter with a lover. "Baby I, I'm not going anywhere without you, walk me home cause I like every single thing about you," she sings as she sets her eyes on the boy standing alone in the corner. The song is a bright, impressive, mature moment for Jepsen.
The album closes out with "Favourite Colour", at least for those who purchased a deluxe version. While the last track is a good effort, the slow, sweet and emotional number does not do anything exciting or memorable when everything comes to and end. Jepsen's vocals are gentle and soothing, a commendable aspect of the song, but when everything is said and done, the ballad-esque offering will more than likely be forgotten, especially when put head-to-head with the rest of the track list.
E•MO•TION is easily one of the most exciting, complex and enjoyable offerings of 2015, and definitely takes the crown for most innovative pop record. Jepsen has been counted out ever since she found massive success in 2012, but the determined artist seems to have focused on the complete package of her third studio album. The hardwork and innovation is noticeable as the listener is transported to the 80s decade with pulsating synths, hard-hitting drums and sultry vocal performances throughout the 15-track effort. Never does the album overstay its welcome, never does it sound outdated or forced. Jepsen, and her talented team of producers, seem to have made a cohesive effort that has sent most critics into a frenzy. Call her a one-hit wonder if you desire, but Jepsen just put almost every artist to shame.
Tracks to Hear: "Run Away With Me", "Making the Most of the Night", "Your Type", "Warm Blood" and "I Didn't Just Come Here to Dance"
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