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1, 2, 3[br]AAAAAAAAHHHHHHH!

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Hi everyone, BRATthony Greeentano[br]here,

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the internet's busiest music nerd.[br]And it's time for a review

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of this new record "Brat" from Charli xcx.

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Here we have the 6th official full-length[br]studio album from pop-singer and

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songwriter Ms Charli xcx.

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One of my most anticipated albums of[br]the year, why?

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Well, over the past decade in my eyes,[br]Charli has grown into one of the most

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creative, unique, and pioneering forces[br]in current day pop music.

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And her evolution has been interesting[br]to watch, to say the least.

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I'm not a fan of her early work, [br]truth be told, but

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today it serves as an interesting[br]reference point.

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Uh, for what she is doing on this[br]record.

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The "True Romance" and "Sucker" eras of [br]her career, uh, did bring some of

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her biggest hits and features to date,[br]that is true,

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but sonically, much of the music she was[br]dropping around this time wasn't...

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very daring or even deep.

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At best, you could say it was catchy[br]and of-the-time.

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Around the mid-2010s, though,[br]is when Charli's music

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really began to push boundaries.

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Crossing over creatively with writers and[br]producers from the

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up-and-coming PC music label.

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I'm talking people like Danny L Harle[br]and EASYFUN, A.G Cook,

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and the late SOPHIE,

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who at the time were gaining[br]quite the reputation for

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revitalizing a lot of Y2k-era pop[br]aesthetics but with a

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hyper-futuristic, jittery sound.

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And our first taste of this new direction[br]came in the form of

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Charli xcx's "Vroom Vroom" EP in 2016.

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Which some critics just did not know what[br]to make of at the time,

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and while it was my EP of the year[br]that year,

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I could still see how this would have [br]turned a lot of people off if they

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came into Charli's music having certain[br]expectations,

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given that she was a pop artist.

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Because "Vroom Vroom" in tone, is,[br]at points, kind of dark, and visceral

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and groovy in a weird way.

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Campy, too, with some tracks varying so[br]wildly from part to part that,

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uh, you could almost take what she was[br]doing here as, like, a joke or novelty.

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However, the tracks on this EP are[br]deadly serious.

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And were also a new, bold step for [br]pop music as well as in a hot moment,

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for both Charli and PC Music creatively.

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Because at this point, I think Charli became[br]the perfect conduit for what they were

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trying to channel this detailed and [br]retro-futuristic, reconstruction

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of 2000s pop music, that blur the lines[br]between the satirical,

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but also reverent.

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Meanwhile, Charli's creative chemistry[br]with A.G and SOPHIE

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allowed her, I think, to experiment more[br]and mature as a songwriter.

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Allowing her the freedom to drop[br]zany bangers as well as

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sleek-powerful anthems.

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Songs with strange structures, or very [br]unlikely features,

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A lot of these ideas and concepts were[br]more or less road-tested on

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the mixtape she dropped back in 2017,

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and then in my eyes, it was all[br]fully realized on her excellent 2019

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"Charli" record.

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Now, over the years, as Charli has[br]developed this new sound,

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her writing has offered more depth,[br]has become more personal and intimate,

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especially on her pandemic album,[br]"How I'm Feeling Now".

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But I think Charli's writing has grown[br]more conceptual, too.

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With her presentation as this posh,[br]English party girl on many of her songs

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has more or less become this exaggerated[br]character she plays into.

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However, in a way, Charli's instantly[br]recognizable sound and unique place

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in the pop landscape, uh, became both a [br]blessing and a curse at the dawn of the 2020s.

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Because her style had gone from[br]challenging to kind of definable

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with this newly-minted "hyperpop"[br]term that was being thrown onto everybody

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who sounded even vaguely like her or[br]100gecs.

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And she quickly went on to strip away[br]many of the "hyper" characteristics

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of her music on her next album, "Crash",[br]working with a totally new team of producers

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And while I can't deny the record does[br]feature some respectable hits,

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I have to ask: At what cost?

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Because "Crash" did very measurably have[br]quite a bit less character than

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anything that Charli had dropped[br]in recent years at the time

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Which brings us to today. Charli's [br]latest album cycle here, "BRAT".

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Where I think she's genuinely reconnecting[br]with the trajectory that has brought her

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to this point and made her a special artist[br]to begin with.

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Even EASYFUN and A.G Cook are back[br]in the mix on this production side,

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on a whole lot of tracks, uh, numerous[br]others too.

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There are even references to A.G Cook[br]on some of the lyrics to this record

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as quite a bit of meta-commentary[br]is going on as well.

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You can really tell that Charli is fully[br]embracing the impact she's had on pop music

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in recent years, and really using it as[br]more of a strength than a weakness

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that she can be pigeon holed into.

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And I think that's something she can[br]do confidently because

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her and A.G Cook aren't just merely[br]trying to, y'know,

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revive some kind of hyperpop trend on[br]this LP.

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I mean, for sure, Charli's goal and focus[br]is to give us this autotuned, bold,

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and hard-hitting homage to 2000s era [br]pop music,

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but this time around we have a refreshing[br]focus on dance-pop, on EDM from that era,

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on electropop from that era, club bangers[br]generally.

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With a pretty aggressive edge, making this[br]LP very worthy of the title "BRAT".

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Because this record is meant to be[br]danced to.

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And, at points, cry to.

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As I think Charli's writing is more mature[br]and thoughtful than it's ever been.

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For one, her party girl persona takes[br]a bit of a dark turn,

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or at least gets deflated a bit

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as she reveals that it's kind of a[br]mask,

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and that she doesn't always feel[br]like she's worthy of being there at the party

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or that her and the party are a bit[br]at odds.

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Meanwhile, "i think about it all the time"[br]sees Charli musing about whether or not

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she can continue her career in the way[br]she currently is,

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while also becoming a mother, which she[br]very clearly has interest in at some point.

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Skipping ahead here, it's also kind of[br]crazy how narratively, this contrasts so hard

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with her going back full into party mode[br]on the closing track, "365".

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Of course, there are notes of nostalgia[br]on this album, too, that is very much

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in line with tracks like "1999", most[br]notably on "Rewind",

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but this song specifically is more about[br]Charli missing the older aspects

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of her life before the fame.

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Between sticky choruses on this track,[br]she delivers her verses in this way that

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kinda comes off like, conflicted internal[br]monologue, or like

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she's musically journaling.

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There are lots of tracks on this thing too[br]that deal in love.

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But these songs narratively feel vastly[br]different from previous singles like

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"Good Ones", for example.

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Tracks where historically, Charli can be[br]seen running away from love

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or being a bit self-effacing and talking [br]about how she's fucking it all up.

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Instead, on songs such as the really[br]infectious

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<i>singing</i> "Talk talk to me!"

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as, uh, as well <i>laughs</i>[br]as the very cinematic

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<i>singing</i> "Everything is romantic"

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Yeah, Charli can be seen accepting[br]love and doing quite a few shoutouts

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to her fiancé George.

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But yes, between this and numerous nods[br]to wanting to have maybe a more normal

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life at some point, Charli really presents[br]some interesting internal conflicts

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throughout this album, which we also[br]hear as well on tracks where she is

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singing about things like friendship[br]and sharing the limelight with other women.

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I mean, historically Charli is very[br]pro-woman,

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especially when it comes to supporting[br]other artists