Charli XCX : "Music, Fashion, Film"

She is wise not to take her Brat Girl Summer head-on. She eluded it on the "Wuthering Heights" soundtrack. Now she knows it's time to step up and see where it goes. Of course there have to be guitars on a song called " Rock Music". It feels like she is pivoting from hyper-pop and has an eye on what Oliva Rodrigo is doing. She knows what she is doing, and the stakes could not be higher for her. The first two songs have not been a Brat-sized banger, but are solid songs, more of a bop, as the kids would say. Then things get weird.

Weird in the best way for "Card Declined," that comes across like some oddball indie rock from the late 90s. This album is really well produced, but it is not big and in your face like her last two. There is more of an indie rock strum to "Camera' that works off a jangle that is remixed. These are good songs; they are just not going to be what you expect or knew you wanted from her. It feels like a change she had to make to not recycle herself creatively. '2007" is another weird one that grows on me, with its danced-out jangle.

"I'm Afraid" and "Yeah" feel like companion pieces, working off the energy in a subtle way that underlines the genius of this album. "Wink Wink" feels like a more organic 90s inspired version of what you might expect from her. "Persona" has an overdriven bass line and woozy shoegaze-like guitars. It's got more pop hooks than the bulk of the record. "Magic Metal Montana" is experimental but works in the context presented well. It is fitting that David Croenberg's voice is used on the last song, as this sums up what kind of pop album this is. If it is a pop album, you could just as easily call this one an indie rock album. I hope Taylor Swift doesn't try to release an album this year, as it's hard to compete with this. 

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VOXTROT : "Dreamers in Exile"

The impetus for checking out this album came after reading these guys listed as a band who were picking up where the Smiths left off. That might be a bold claim. I can hear where this comparison might be made when it comes to how they use guitars, but that's where it ends. There is no darker underbelly or scathing lyrics draped in humor and self-loathing. Which is fine, they are doing their own thing. I am more curious when these comparisons are made, as I don't actually want another Smiths since I am always going to prefer the Morrissey-helmed band.

"Fighting Back" is the first song with a more biting commentary. But that doesn't mean it's time to pull out your copy of "Meat is Murder" and listen for where the dots connect, because they don't. Sure, the guitars ring out similarly to what Marr does on his former band's more straightforward moments. The synth melody in the background sounds more like it was lifted from one of the Cure's radio moments. Lead singer Ramesh's vocals anchor this in a more conventional pop vibe. He is emotive but plays it safe, and lacks the depth of a Morrissey or Robert Smith. This is what leads to a song like "New World Romance" to carry an overly safe middle-of-the-road feel. This is what keeps them from being a post-punk band aside from the fact their nothing punk about what they are doing sonically, where a band like the Smith's had an energy and attitude that punk despite the fact they were strumming chords and using bouncy bass lines. Nothing that conveys tension is here. 

This album is, however, more organic pop music than, say, The 1975. The title track from this album has more in common with the Cars' poppier moments than what is the current tone of the radio, with a subtle emo tinge.  These are well-written songs, perhaps too perfect in how put together they are, and the saccharine mix doesn't help as the bass couldd come forward and add some heft.  "The Times" finds them relaxing down to a lazier strum that makes me think of the Drums' more beach-oriented moments. The reverb-heavy might help to offset the brightness of what they are doing. It would be intersting to hear the previous songs mixed like this. This is the point of the album where they are experimenting a little more confidently; they knocked out the required radio pop songs. With a song like "Espirit de Coeur." the first song where Ramesh's sexuality comes out, but the guitar tones are pretty cool and set them apart from other middle of the road pop rock bands in 2026.

They dip into balladry with "Quiet Noise," which blends old Motown with country. It is the most organic song so far, and gives the vocals plenty of space to be more convincing. "Quiet Noise" is upbeat and not as focused, also too happy for my taste. The chorus to "Change" is also too happy, though the verses work pretty well, and the lyrics are some of the more intersting ones to be found on this album. "Rock & Roll Jesus" is not convincing as a rock song and falls flat. "Babylone" is an urgent ballad that sounds like something R.E.M. might have done. It's one of the album's better songs. I will give this album a 9 as it's well done for what it is. not something that suits my tastes, but I think I have given all the reasons why I prefer the Smiths vs what is happening here, but it is more organic andd better than most pop acts on the radio. 

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The Beaches : "No Hard Feelings"

 It's been a weird year for pop, but rather than waiting for Taylor Swift to come save the day, I've been looking forward to the Beaches' new album. This band's last album, "Blame My Ex" found them taking the number two spot in our Top 10 Pop Albums of 2023. They have raised the bar for themselves, and the opening track on this album finds them going in a more indie rock direction while trying to still dish out a comparable level of hooky choruses. The second song here is more of a pop stab that reflects back on what worked on the last album, though perhaps not as hard-hitting, but still highly effective. 

"Sorry For Your Loss" is more indie rock, almost an 80s new wave edge to it. Jordan Miller's voice is more emotive this time around me, and she throws it around in a nuanced manner. At times it makes me think of if the Killers were girls. "Touch Myself" is not a Divinyls cover. The guitars follow a well-worn formula that they have used, where the guitars are mixed back to give the vocals room to create a more dynamic chorus.  "Fine, Let's Get Married' is more effective at what they do with a tension that is like some of the Cure's poppier moments. 

Lyrics are their strong suit, and some of the sharp wit regarding their self-loathing and dysfunction are more dialed back than the previous, though there are moments like "Takes One to Know One" that renew the shine. This is a more guitar-oriented album, which I like. This can be heard on "I Wore You Better" which finds a queer-baiting slant on the lyrics that they have been ambiguous about up til this point on the album, though one of the guitarist's sexuality is pretty out, which is fine, as no one is pressing anything here and it kind of comes off like it's all a part of the issues they are cataloging in the lyrics. "Dirty Laundry" dances and jangles, but it does hit me as strongly as the previous songs, though it might need to grow on me.  

"Lesbian of the Year" almost seems like they are using the queer thing as a marketing angle. But it's a good song, so I am not going to complain that the lyrics are pretty clever. "Jocelyn" does not hit like "Blame Brett" but it's a really well-written indie pop song that keeps the guitars firmly in hand and does not apologize for being a guitar band. "Last Girls Girls at the Party" has grown on me since the first time I heard it. It is still not a "Blame Brett," but it works for what they are going for. I have heard it explained that they are entering their messy era. I think they are more of a rock band on this album. I will give it a 9.5, which means it holds up against the last album because they came at what they do from a different angle. Not as experimental as the HAIM album, but perhaps more consistent, and fewer ballads. 

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