Charli XCX


Dec 19, 2019


What a weird year! AM I RIGHT?! How strange and varied. This year we have seen trends emerging that had been anticipating for years. The album format is already considered an endangered species, and digital sales are prepared for imminent risk. Streaming has managed to take over the entire musical monopoly, for better and worse, changing the way people understand music, revolutionizing charts and creating extremes in this rich universe. The massive and singular success of a song has been extended for months thanks to word of mouth and the way of understanding the music of mass society. And today more than ever, music does not come alone: ​​the digital era, with its memes, videos, tik-toks, etc. has helped the consumer discover and listen more and more. All this has made artists touch the sky and resist here, although their next songs don’t have the same impact. Secondly, we have seen how moderate success is the success sought, and this has taken over most of the songs. It is better to throw a lot of musical material so that they can listen to you, and be on the agenda (you know a lot about this subject, right Nicki Minaj?). The great successes have been enormous, and have occupied for weeks the tops of the charts. Either you win big or you stay swarming the top10 or 20, adding up gradually. This has helped that an evolutionary trend has hatched in a striking and beautiful way: a year where variety, freedom, self-being has also reigned. Pop is no longer pop, R&B is no longer R&B, dance is no longer dance. Everything is something else, everything has the unique touch of each artist. We have seen how a huge number of artists have presented a more personal sound, the record companies are beginning to bet on the vision of the artist (thank you!). Thousands of shapes, bodies, faces and sounds have come together in our ears, listening to endless musical genres reinvented and evolved. The originality has gained ground to the generic in many ways (and I no longer speak only of music), so I appreciate this good year, which, without standing out from the rest for its lack of highlights, is presented as a good and unique harvest. New artists have taken the revelation of the legends, which are presented as musical avant-garde, able to offer novelty and inspire. Taking music to a new level. This year presents a new hope for everyone who wants to be heard. 2019, the year of the visionaries. Note: make it clear that this is a personal top where you have taken into account own taste, quality and success.

Written by @FerSP from Fernando Sempere
Oct 20, 2019

Charli XCX Reveals Hidden Depths On Her Sensational Self-Titled Album

For Charli XCX’s legion of super-stans, June 13th 2019 will forever be remembered as a day most of us never imagined would come, as she announced the release of her third, self-titled album featuring an impressive collection of collaborators who by this point have become her close friends. It’s safe to say the road to Charli did not run smooth, as following the release of her 2017 mixtape Number 1 Angel, the majority of what would have been her third studio album was leaked online and later scrapped altogether. It’s not something Charli has discussed too often, instead focusing on the string of hugely successful singles - including the Troye Sivan-assisted “1999”, “Blame It On Your Love”, an updated version of Pop 2’s Track 10 featuring Lizzo, and “Gone”, a collaboration with French singer-songwriter Christine and the Queens – which gave fans a taste of what to expect from her self-titled effort. However, it’s clearly still a sore spot for the star, as she revealed in a recent interview with Highsnobiety. “It was so out of my hands because I felt like my personal property had been stolen, and taken. And I felt taken advantage of, and I felt like I was completely out of control. I didn’t even have a choice. I didn’t make the choice. The choice was made for me by the people who hacked me. It’s really upsetting and scary and I didn’t feel safe,” she said. Perhaps it was for the best though, as she poured all her emotions into a second mixtape, Pop 2, and supported Taylor Swift on a world tour. Still, the best was yet to come, as Charli relaxed into her role as pop’s brightest star and gave us her most personal body of work to date.

Written by @lobrien95 from Musing + Lyrics
Jun 14, 2019

I Know Every Gay In The World Is Gonna Hate Me, But The Truth Hurts, And So Do My Ears After Listening to Pop 2

Now, before I get attacked and severely beaten by all of the Charli XCX stans, I consider myself one of you. I’ve had the joy of seeing this wonderful artist live twice. The first, as an opener for one of my actual favorite artists Halsey and then a second time at a free event in my city, where she signed one of my albums and we got a picture together. I generally enjoy her music, but there are times when she missteps, because everyone does once in a while. Charli XCX has some great records — every fan of hers can agree on the genius of her debut album True Romance. I absolutely loved her follow-up album Sucker, despite some people absolutely despising it. And I enjoyed her first mixtape Number 1 Angel, which I feel is way better than her second one Pop 2. Number 1 Angel makes great use of the features, while also not slapping on too many. There’s also way less auto-tune. I don’t know why, but Charli XCX is absolutely obsessed with including auto-tune in her tracks. She’s starting to become known for it. When the song “The Middle” by Zedd featuring Maren Morris came out, there was an article revealing artists who were considered for the song, and Charli XCX was one of them. She tweeted in response saying that Zedd didn’t really care for the amount of auto-tune she uses — not in a mean way, of course. But, it just goes to show you that she has a bit of a problem with it, especially in Pop 2.

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