Katy Perry - 143

Stuart

Stuart

It’s just soulless to be honest. Katy used to have such a strong identity as an artist. I feel like this album could be by any trend chasing influencer, popstar wannabe, drag queen.

I can’t believe this is the same person who brought us One of the Boys and Teenage Dream.
 
smellycat

smellycat

Wow, this is truly dire. I just cannot get my head around how any of this was greenlit by everyone involed. Katy was never the greatest lyricist around, but she had charm in buckets. This could easily be an AI written album.

As has been said multiple times before, stream Hot City for a glimpse in to what could have (and should have) been.
 
RJF

RJF

I keep coming back to how many people this album and overall direction had to go through to get this far and how just... no one seemed to pull the emergency brake. I don't think the album is like, actively poorly made (what they've set out to do is largely what they have done for better or worse) but it's beyond tired, and unbelievably hollow. At its best, it manages to achieve shallow, dated, if passable Duke Dumontery, and honestly, at its worst... it's just completely out of character and entirely vacant and cold. It's a cold album. I got frostbite.

I refuse to believe that anyone who made this album actually likes the music that was supposed to inspire it. If you want to empower women, work with other women. If you want to make a dance album, work with dance producers. If you want to make a contemporary pop album, maybe speak to someone under fucking forty. I don't believe anyone involved in making this album is listening to music like it for joy. I don't believe anyone involved in making this album would listen to it for joy. It's boardroom pop.

There's like, a glimmer of something that works in "Lifetimes", "All The Love" and "Wonder" (the four year old girl sounds fine on the four seconds she's singing, you dramatic fags) where there are shreds of warmth and humanity and an actual idea: having a child and becoming a family unit has altered my perception of the world and love by completely recontextualising all my life before it, and after it. It's the classic new motherhood popstar rite of passage but it largely works. So I'm not sure why that is sidestepped for bizarrely out of character swill like "Gimme Gimme", "Gorgeous" and "Artifical". Like, Katy Perry is hot, but she's never been a cum guzzling sexpot on record (just in the kitchen LMAOOOOO am I right lads), so stop trying to make her one.

It's super troubling that the biggest emotion from this album appears to have been... a desire to pull Dr Luke out of the shadows and back into the upper echelon of pop, and what's even more troubling is that everyone but him had something to lose in it going wrong like it has, with Katy being at the top of the pile. I think she seriously needs to clean house, because it looks like the damn thing is on fire. Even if you just forget the numbers, she's in total creative freefall and the people she's put in place to help her are not. But even then, I'm not sure how you come back from a third album of diminishing returns without even having the pride of knowing that at least it was your best. She and this album capitulated to everyone and everything around them, and the prize is going to be probably the roughest month of her career to date.
 
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mindtrappa

mindtrappa

he/him
spaceship said:
What’s frustrating is that we have proof that Luke knows his way around a dance song even pre-Kim. Supernatural and Where Have Been are very well produced dance songs that were rich, had cool drops and breakdowns and were very dynamic. I just don’t understand what’s going on here … or maybe I do and it was all Cirkut’s wizardry on those cuts.
Click to expand...

I think it’s clear that all Luke’s best work in the 2010s was the result of whoever he was working with at the time. There’s just no way you fall off this hard. His production hasn’t evolved since 2014 because he hasn’t had anyone else to leech off since thise allegations except for Oliver, and honestly? I don’t even hear Oliver on this as much as the credits suggested (or even like how he’s clearly the one behind Kim’s Problematique and Turn Off the Light projects), which kinda tells me Luke was truly at the helm here.
 
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CK87

CK87

RJF said:
I keep coming back to how many people this album and overall direction had to go through to get this far and how just... no one seemed to pull the emergency brake. I don't think the album is like, actively poorly made (what they've set out to do is largely what they have done for better or worse) but it's beyond tired, and unbelievably hollow. At its best, it manages to achieve shallow, dated, if passable Duke Dumontery, and honestly, at its worst... it's just completely out of character and entirely vacant and cold. It's a cold album. I got frostbite. I refuse to believe that anyone who made this album actually likes the music that was supposed to inspire it. If you want to empower women, work with other women. If you want to make a dance album, work with dance producers. If you want to make a contemporary pop album, maybe speak to someone under fucking forty. I don't believe anyone involved in making this album is listening to music like it for joy. I don't believe anyone involved in making this album would listen to it for joy. It's boardroom pop.

There's like, a glimmer of something that works in "Lifetimes", "All The Love" and "Wonder" (the four year old girl sounds fine on the four seconds she's singing, you dramatic fags) where there are shreds of warmth and humanity and an actual idea: having a child and becoming a family unit has altered my perception of the world and love by completely recontextualising all my life before it, and after it. It's the classic new motherhood popstar rite of passage but it largely works. So I'm not sure why that is sidestepped for bizarrely out of character swill like "Gimme Gimme", "Gorgeous" and "Artifical"

It's super troubling that the biggest emotion from this album appears to have been... a desire to pull Dr Luke out of the shadows and back into the upper echelon of pop, and what's even more troubling is that everyone but him had something to lose in it going wrong like it has, with Katy being at the top of the pile. I think she seriously needs to clean house, because it looks like the damn thing is on fire. Even if you just forget the numbers, she's in total creative freefall and the people she's put in place to help her are not. But even then, I'm not sure how you come back from a third album of diminishing returns without even having the pride of knowing that at least it was your best. She and this album capitulated to everyone and everything around them, and the prize is going to be probably the roughest month of her career to date.
Click to expand...
Frame this and put it in the Louvre.
 
RJF

RJF

I also cannot get over just how much of the promotion seemed to revolve around tapping into nostalgia only to display a fundamental lack of understanding about what Katy does best and what people actually come to her for. I feel like this album tries to largely take cues from "Dark Horse"... which is an outlier in Katy's discography of largely big, earnest pop songs with catchy choruses. "Dark Horse" is also eleven years old! Wake up!!!
 
dontkillmyvibe

dontkillmyvibe

Still haven’t listened to this but it’s her second album in a row that I don’t feel the urge to listen to on release day and I think it’s very telling of her career’s trajectory.
 
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