Alessia Cara - The Pains of Growing + This Summer (EP) | Page 7 | The Popjustice Forum

Alessia Cara - The Pains of Growing + This Summer (EP)

Discussion in 'Pop & Justice' started by IAmRockstar, Jun 12, 2018.

  1. 71 on Billboard 200...I love the Grammy curse.
    slaybellz likes this.
  2. That is honestly disastrous considering how much radio play and exposure she's gotten over her short career. I know, I know, music not the bling, but the stuff she's doing just isn't connecting like it used to. I'm really curious where she and her team go from here.
    johnny_tsunami and AshleyKerwin like this.
  3. The Pains Of Flopping...

    Let me give this a listen cause I feel bad. I liked her first album but she's just not a very interesting artist.
    Cognitive Dissonance likes this.

    Someone at Def Jam is gonna have their ass handed to them after this. What a disaster.
    sweetener, Crisp X, soratami and 14 others like this.
  5. She really needed a big, recognizable single to launch this album; she was basically 'that girl on that radio' last era. She needed to make a name for herself this time, and she didn't.
  6. You mean the good sis, Alessia? She fought to be the primary writer of every song despite Def Jam saying it wasn’t a good idea. She deserves to get dropped for wrecking her own career.
    tastic, KYLE and sexercise like this.
  7. I guess when no one wants to hear your music you have to sing someone else's.
    tastic likes this.
  8. I don't think women wanting more creative control is something they should be criticised for. The album flopped but it was well received critically and I definitely think there's potential for a hit single if she plays her cards right.
    sweetener, bimbo, Rem and 10 others like this.
  9. Or 'Tripple Pretenses'.
    Vasilios likes this.
  10. It's great how hands-on she is, but if you're aiming for commercial success then you definitely need to trust some of the people around you for guidance. I'm sure she's proud of her record, which is the most important thing... but the numbers for this aren't just rough, they're staggeringly bad considering the momentum she had built by the end of her last era.

    I'm not really sure how she bounces back from this, but they should keep trying to court pop radio. She's super young and talented, so I hope she doesn't just disappear (also she's Canadian, so I have a little extra love for her despite not... loving her music. dddd).
    johnny_tsunami and RainOnFire like this.
  11. RainOnFire

    RainOnFire Staff Member

    We were having a similar discussion in the Camila thread because of her insistence on releasing Consequences over She Loves Control, and it's true here too. There has to be compromise, especially so early in her career. We definitely don't need more old white men trying to control a young woman's career, but sometimes the people who've been doing this for longer just know better (not always, obviously, but sometimes).

    What's so frightening about this whole thing is that they literally did everything right in the lead-up for this era. She scored two huge smashes from her first album, and they bridged the gap perfectly with another smash with Zedd and two other hits with Khalid/Logic and the cover of How Far I'll Go. She essentially hadn't disappeared at all from the first album which I always think is a good idea for new artists. So the way everything has completely unravelled to the point where she's gone from a Top 10 Platinum-certified album to a #71 album that probably won't cross 100k (or even 50k, who knows), is just... this level of floppage is almost unprecedented? I swear some of the American Idol flops have had it better from their first-to-second album drops.

    This is unreal, pretty much. I'm so stunned.
  12. She's pretty much in the same territory (chart wise) as The Chainsmokers. Both had a huge string of hits and then magically they started flopping into oblivion. I think the explanation is that the string of hits they had came from radio's goodwill and the overall success of the first era. I think the if she would have released the same songs now, they will also flop since it seems the industry isn't willing to make them happen anymore.
    Txetxu likes this.
  13. I'm still shocked at the poor sis Natasha charting from #3 to #103 with Strip Me (and that's actually a great album).
    Anyway, I really thought that the success of Stay would have made people care just a little more. I would have bet for, at least, a top40 debut. This is a disaster.
  14. Terence Trent D’arby remains the queen of underperforming second albums. Sometimes the debut smashing brings a fearlessness that leads to well, flopping.
    Leopold likes this.
  15. To be fair not all of them even got to second albums, but yeah, even the ones that majorly fell off like Kris Allen and Phillip Phillips sold a lot better than this.

    Not to pile on, but peaking at #71 when missing a radio smash is giving me astroturfed career teas. Like... this is so. bad.
  16. Personally, I think it's been a build up of a lot of things that have led us here. Even from the start, there were people who viewed her as the "I'm not like those girls" kind of artist, which already put her on a bad foot with some. Then she became literally inescapable in-between the Zedd and Logic collabs which were hammered to death everywhere. The schmaltzy, borderline-kitsch aesthetic she had on the first album dialled up 100% on the new album with the title and suit she insist on wearing. And deserved or not, that Best New Artist win at the Grammys did catch her a lot of flack. The stars basically aligned perfectly for her success, and then almost immediately re-aligned for her sophomore effort. And it's not helped when your debut single is still arguably your best song.
  17. What a commercial nightmare. I agree that most everything was done right here – the stopgap collaborative singles between albums, the constant media exposure in the lead-up, (somehow) favorable critical coverage.

    Everything was right – except the Twitter meltdowns... and more importantly, the music, which I assume is what made the whole thing crumble. I liked her first album well enough, and I’ve always found her to be personable in interviews and such. But this record just ain’t it. I cannot get myself to pull through more than 10 minutes with this thing at a time. It is so, so monotone. It’s as if someone turned a piece of toasted white bread into music.

    And I cannot say enough how much I hate the title. Just call the damn thing ‘Growing Pains,’ for all that is good and holy. Literally no reason for ‘The Pains of Growing.’ Not even Shakespeare made something so unnecessarily drawn out.
  18. Honestly, there’s just nothing special about her, & there never really was. Her image is boring, her music is bland, her lyrics are (actually) basic, her voice is competent yet... not overly pleasant.

    Here was a song that was slightly interesting at the time due to its perspective, but that’s about it. Since then, it’s all been a bit of a snooze.

    I feel bad in saying this since she’s been rather vocal about her mental health struggles - I have nothing against her at all, but I just don’t see it for her. She just doesn’t seem essential in such an oversaturated climate.
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