Disc rating|The idle work, which suffers from a lack of vision and sharpness, presents a hollow repetition of faded clubbing tones and Perry’s golden years, writes critic Aleksi Kinnunen.
Pop / Album
Katy Perry: 143. Capitol.
★★
When in the trend cycle, after the millennium years, we are driving hard towards the 2010s, in 2008 I Kissed a Girl -struck through with a hit and in recent years has been badly missed Katy Perry one could expect a clear increase in value.
Perry’s 2010 hit album, one of the biggest pop successes of the millennium, loaded with sleek good humor and powerful choruses Teenage Dreamhas already positioned itself as a local nostalgia fence for people in their twenties. The reissues have proven to be displayed in record stores.
In addition to the nostalgia value, trends are also on Perry’s side: of Chappell Roan the exceptional breakthrough of the last few months has shown that the emphasis on strong melodies and tradition-conscious production is in particular demand again in youth pop.
That’s why it’s amazing how Perry and his backers totally squander their million dollar opportunity.
Perry’s the seventh album flirts with the star’s trademark, playfully catchy light pop and the ysäri club tones that have been in circulation. The latter are starting to sound tired Lady Gaga’s and Beyoncé’s after the launches.
The big problem with the album – whose name comes from Perry’s own symbol number – is the pervasive indolence and lack of vision. If it weren’t for Perry’s hit-guarantee, who obviously lost his ambition badly, as the director Łukasz Gottwald or Dr. Lukeathe result would hardly pass the process.
The album’s soaring opening single Woman’s World is one of the most confusing cases of the year and a possible future classic of its genre. Particularly Perry’s oiled breasts from the attention-stealing video didn’t really know if it’s a perfectly mixed-up feminist declaration attempt or a woke-joking double-communication by conservatives.
After the opening, the sound improves a bit, but the hollowness that underestimates the listener is hardly suitable even for the background.
Blockfest guest by 21 Savage trap-pop recorded with Gimme Gimme floats around like an uninspired adaptation of Perry’s more than ten years ago Dark Horse – from the hit. Gorgeous sounds like it’s focused on cosmetics Rihanna’s from a rough track.
Second single In Lifetimes would be more sharply executed as a hedonistic club banger that pulls ingredients. I’m His, He’s Mine in the song Perry lays down of Crystal Waters to the rhythm of yäsärilalatteltu roles like Meredith Brooks: I’m a man’s drug, a boss and a bitch.
Straight to the end A clear phenomenon of the recent pop year has been the triumph of fresh names. Sabrina Carpenter and after a long cult popularity burst into the mainstream Charli XCX have succeeded handsomely and brought freshness to the mainstream with Chappell Roan.
For example, they have increased the feeling of change Dua Lipa’s and Taylor Swift’s disappointing records.
Perry’s 143 is a nail in the coffin of a year of underperformance by pop rockers.
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