Meghan Trainor's third studio album offers a new palette of different sonic constistencies layered in palpable modern pop textures drawing from 80s synthwave and funk influences, among others.
Wave sets the ground in the most sophisticated way possible, combining silky epic choirs and a dry distorted bass in a fascinating sonic conjunction. Kudos for the presence of an impressive novice artist (Mike Sabath). How can this be catchy, airy and finely shaped at the same time, is really striking.
Wave sets the ground in the most sophisticated way possible, combining silky epic choirs and a dry distorted bass in a fascinating sonic conjunction. Kudos for the presence of an impressive novice artist (Mike Sabath). How can this be catchy, airy and finely shaped at the same time, is really striking.
8.5/10
Nice To Meet Ya immediately channels in a more mainstream sound, presenting a bubblegum tonal diminuendo behind the talked chorus which does remind the formula of David Guetta's Light My Body Up, also featuring miss Minaj. The strength of this track resides in the development of its structure.
7.8/10
Funk brings in the most praisable contaminations from 80's disco and, obviously, funk music. Highly groovy and hooky, its chorus is as simplistic as effective. As the word "funk" shrouds a double-entendre through several lyrics, it becomes even more captivating.
7.5/10
Babygirl adds to the list of sonic influencers the trip hop genre. There are no doubts anymore: the more Meghan ventures out of her original doo-wop brand, the more her self-confidence empowerment messages become efficient.
7.6/10
Workin On It is too borderline to be reckoned in the ballad cauldron, but both production and lyrics come across sweet and genuine enough to create a mild gracious aftertaste, despite not-so-strong replay value.
7.3/10
The issue with Ashes is that it is one of those rare cases where verses are more refined and memorable than chorus. While the song itself falls a little in an undertone area, the ambient guitars display a divine production quality.
7.5/10
Lie To Me is a friendzone ode that manages to be fresh by introducing a topic variation, but does not live up to par with the previous tracks in terms of compositive inspiration. Still a very good background song though.
7.1/10
Here To Stay's minimal acoustic production (except for percussion, could've been more natural) allows to the singer's authentic confession speech to sound welcoming warm avoiding the slightest aura of melodrama.
7.7/10
Blink has very interesting harmonization layers. Overall, the composition has a deconstruction aesthetic that is just on the right balance between old-school pop and alternative pop. The end of the track supervenes unexpectedly.
7.8/10
There is no secret Genetics stands out as the "bop" of the whole record. The renewed Pussycat Dolls version is an upgrade in comparison to the original one. It would not be any exaggeration proclaiming this track one of the best pure pop gems of these last years. The spelling dodge is even more suitable here than, for istance, on pop milestones as Fergie's M.I.L.F. $ or Lady Gaga's Applause.
9.0/10
Evil Twin ponders the shoulders' angel & devil metaphore placing as another personality serene confession. Whereas the chorus is nicely launched and supported by an equally appreciable chords progression, the bridge is a tad disappointing.
7.4/10
After You sees the emerging of a piano and arguably the brightest vocal excerpt of Trainor's whole discography. An anthemic, epic ballad that majestically puts the artist in a sublime atmosphere incorporating a gauged featured artist presence.
8.7/10
When you assume, by the leftover of just three tracks, that you heard them all, a new quirky formula surprises as Another Opinion makes its scenic entrance, right before morphing into an odd reggae-influenced explanatory, diplomatic disagreement avowal.
6.8/10
No Excuses probably represents the earliest recording of the album. Placing a vaguely "old Meghan" bubblegum pop track after the venturesome sound of the previous one is not the most pleasant choice in terms of cohesivity.
6.7/10
Have You Now is initially supposed to be a relaxing, classic flavored love song outro to an album that actually deals with social and psychological personality themes. It is saved from being boring thanks to a progressing enrichment of its instrumentation. Just a bit redundant towards the end.
7.0/10
Treat Myself couldn't be a more appropriate title for its content. In contrast to the singer's more impudent and sassy approach characterizing Thank You and Title, this album keeps the same self-confidence sense of message using a more diplomatic, dignified and sophisticated juxtapose. Sonically, the evolution of her persona is coherently fitting: cheeky doo-wop over-recycled formulas are forsaken in favor of a more widely breathing, fresher fusion of 80s elements amalgamated in the most modern arrangement attitudes and mastering quality. As Meghan is still looking for nailing the focus of her new pastel-textured sounds, she oozes fun, sensitivity and maturity at the same time.
Partial scores:
ASS (average songs score) = 7.6/10
Overall composition = 6.7/10
Overall production = 8.8/10
Overall songwriting = 7.8/10
Creativity = 7.6/10
Cohesivity = 7.5/10
The final score is obtained using the FUXYA FORMULA:
(ASS x 2 + composition x 2 + production x 2 + songwriting x 2 + creativity x 1 + cohesivity x 1)/100 =
Nice To Meet Ya immediately channels in a more mainstream sound, presenting a bubblegum tonal diminuendo behind the talked chorus which does remind the formula of David Guetta's Light My Body Up, also featuring miss Minaj. The strength of this track resides in the development of its structure.
7.8/10
Funk brings in the most praisable contaminations from 80's disco and, obviously, funk music. Highly groovy and hooky, its chorus is as simplistic as effective. As the word "funk" shrouds a double-entendre through several lyrics, it becomes even more captivating.
7.5/10
Babygirl adds to the list of sonic influencers the trip hop genre. There are no doubts anymore: the more Meghan ventures out of her original doo-wop brand, the more her self-confidence empowerment messages become efficient.
7.6/10
Workin On It is too borderline to be reckoned in the ballad cauldron, but both production and lyrics come across sweet and genuine enough to create a mild gracious aftertaste, despite not-so-strong replay value.
7.3/10
The issue with Ashes is that it is one of those rare cases where verses are more refined and memorable than chorus. While the song itself falls a little in an undertone area, the ambient guitars display a divine production quality.
7.5/10
Lie To Me is a friendzone ode that manages to be fresh by introducing a topic variation, but does not live up to par with the previous tracks in terms of compositive inspiration. Still a very good background song though.
7.1/10
Here To Stay's minimal acoustic production (except for percussion, could've been more natural) allows to the singer's authentic confession speech to sound welcoming warm avoiding the slightest aura of melodrama.
7.7/10
Blink has very interesting harmonization layers. Overall, the composition has a deconstruction aesthetic that is just on the right balance between old-school pop and alternative pop. The end of the track supervenes unexpectedly.
7.8/10
There is no secret Genetics stands out as the "bop" of the whole record. The renewed Pussycat Dolls version is an upgrade in comparison to the original one. It would not be any exaggeration proclaiming this track one of the best pure pop gems of these last years. The spelling dodge is even more suitable here than, for istance, on pop milestones as Fergie's M.I.L.F. $ or Lady Gaga's Applause.
9.0/10
Evil Twin ponders the shoulders' angel & devil metaphore placing as another personality serene confession. Whereas the chorus is nicely launched and supported by an equally appreciable chords progression, the bridge is a tad disappointing.
7.4/10
After You sees the emerging of a piano and arguably the brightest vocal excerpt of Trainor's whole discography. An anthemic, epic ballad that majestically puts the artist in a sublime atmosphere incorporating a gauged featured artist presence.
8.7/10
When you assume, by the leftover of just three tracks, that you heard them all, a new quirky formula surprises as Another Opinion makes its scenic entrance, right before morphing into an odd reggae-influenced explanatory, diplomatic disagreement avowal.
6.8/10
No Excuses probably represents the earliest recording of the album. Placing a vaguely "old Meghan" bubblegum pop track after the venturesome sound of the previous one is not the most pleasant choice in terms of cohesivity.
6.7/10
Have You Now is initially supposed to be a relaxing, classic flavored love song outro to an album that actually deals with social and psychological personality themes. It is saved from being boring thanks to a progressing enrichment of its instrumentation. Just a bit redundant towards the end.
7.0/10
Treat Myself couldn't be a more appropriate title for its content. In contrast to the singer's more impudent and sassy approach characterizing Thank You and Title, this album keeps the same self-confidence sense of message using a more diplomatic, dignified and sophisticated juxtapose. Sonically, the evolution of her persona is coherently fitting: cheeky doo-wop over-recycled formulas are forsaken in favor of a more widely breathing, fresher fusion of 80s elements amalgamated in the most modern arrangement attitudes and mastering quality. As Meghan is still looking for nailing the focus of her new pastel-textured sounds, she oozes fun, sensitivity and maturity at the same time.
Highlights: Wave, Genetics, After You
Partial scores:
ASS (average songs score) = 7.6/10
Overall composition = 6.7/10
Overall production = 8.8/10
Overall songwriting = 7.8/10
Creativity = 7.6/10
Cohesivity = 7.5/10
The final score is obtained using the FUXYA FORMULA:
(ASS x 2 + composition x 2 + production x 2 + songwriting x 2 + creativity x 1 + cohesivity x 1)/100 =
76.9/100
High Road's final score falls within the category good albums.
0-30: DISASTER
30-40: VERY BAD
40-50: BAD
50-55: PRETTY BAD
55-60: MEDIOCRE
60-65: JUST ENOUGH
65-70: SATISFACTORY
70-75: PRETTY GOOD
30-40: VERY BAD
40-50: BAD
50-55: PRETTY BAD
55-60: MEDIOCRE
60-65: JUST ENOUGH
65-70: SATISFACTORY
70-75: PRETTY GOOD
75-80: GOOD
80-85: VERY GOOD
85-90: EXCELLENT
90-95: VERY EXCELLENT
95-100: PERFECT
85-90: EXCELLENT
90-95: VERY EXCELLENT
95-100: PERFECT
her best album yet perioddddt
ReplyDeleteI wish she included songs like Let You Be Right and All The Ways too
ReplyDeletedont forget Cant Dance and Marry Me!
Delete