Apologies for being gone for so long – I’ve been writing my graduating thesis for university but now I’ll be able to get this page back up and running like normal. There’s some albums here that are long overdue for a review so to catch back up I’m going to make a few posts with rapid-fire thoughts on some of these albums from October!
Pink – Beautiful Trauma
Pink recruits some all-star collaborators for her 7th studio album, and while they frequently make their presence felt in some great and emotional musical moments, the majority of Beautiful Trauma is incredibly safe. The project alternates between a familiar mix of soaring pop ballads that exhibit Pink’s gargantuan vocals and upbeat forays into electropop that come across as well worn-out. The outlier might be “Revenge”, a quirkier track where Pink dreams of taking revenge on her ex with some painfully awkward rap lines and delivery before Eminem swoops in with a hilarious and cringe-embracing verse in the way only he can, reframing the entire track as a goofy joke to be enjoyed.
In addition to the rap superstar, Pink brings in some of the biggest names in pop music in Max Martin, Greg Kurstin, Jack Antonoff and Julia Michaels. The latter two do the best work here, Michaels applying some of her trademark heartbreaking lyrics to emotional tracks “Barbies” and “For Now” and Antonoff producing the best track here in “Better Life” where we get some great harmonies over an energetic beat and subdued, jazzy piano chords and finger snaps – despite his inexplicable decisions on the title track, which contains 2 abrupt shifts in energy that fall flat.
Pink is undoubtedly a vocal powerhouse capable of conveying the emotion behind these huge pop ballads and she frequently impresses across the course of the album, but when she insists on reaching into the highest part of her register it can get annoyingly shouty – especially on closing track “You Get My Love”. Overall, Beautiful Trauma has some really great highs but is frequently too derivative to be memorable.
Favourite Tracks: Better Life, But We Lost It, For Now, Revenge
Least Favourite Track: You Get My Love
Niall Horan – Flicker
Former OneDirection member Niall Horan continues the surprising trend of his bandmates releasing much better music than they ever did while part of the collective. As each member seemingly diverts to a different genre of music, Horan adopts the acoustic singer/songwriter angle and delivers an album of powerful pop ballads. While it may be very easy to compare him to Ed Sheeran, as he sticks to the formula the superstar adopted, Horan’s calming vocals and assistance he got from Greg Kurstin on this project ensured a solid debut.
We open with the maddeningly catchy “On the Loose”, built around a pounding beat and a pleasant sliding guitar pattern as Horan’s vocals cascade on top of each other into the chorus. These are some smartly written pop tracks – and Horan has primary credit on every one of them. Even some tracks, like single “This Town”, fall into a repetitive and unexciting territory in terms of the instrumental, Horan’s vocals are more than enough to carry these tracks. Subdued and emotional, he puts his heart into every word and truly delivers the emotion of these romance-oriented tracks. While we all know “Slow Hands” by now, the single truly took me by surprise. He sounds absolutely effortless on the track, and the underlying bassline groove distinguishes it from the rest of the album and sends the track over the top. Other highlights include a nicely harmonized duet with country singer Maren Morris on “Seeing Blind” and Kurstin’s “Since We’re Alone”.
As we get closer to the end of the album, the tracks definitely do begin to blend together a bit. The Sheeran influence is worn on Horan’s sleeve, and the slower acoustic ballads that close out the album are similar enough to get a little sleepy. Still, Flicker is easily the most consistent post-1D album yet.
Favourite Tracks: Slow Hands, On The Loose, Too Much To Ask, Since We’re Alone, Seeing Blind
Least Favourite Track: Flicker