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skymusicreviews · 6 years

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Bebe Rexha - Expectations | Album Review

Expectations is the long awaited, LONG delayed debut album by singer-songwriter Bebe Rexha. She has a long repertoire of hits: "I Can't Stop Drinking About You", "Take Me Home", "Hey Mama", "Me, Myself, and I", her most recent and biggest hit, #2 single "Meant To Be", not to mention all of the other hits that she's penned for other artists. She's dropped three EPs, including the two-part All Your Fault EP; apparently, there was supposed to be a third part that was replaced by this album. Her career as a star spans back to 2014, and it's a wonder that it's taken her so long to drop an album, but here it is, on June 22, 2018. Can it live up to our Expectations?

Expectations tends to stick to Bebe's pop roots, but the span of styles used on this album is quite diverse. Like most new pop girl albums (Anne Marie and Camila Cabello, for example), Expectations consists of a few tracks that exist mostly to show off Bebe's voice, a few tracks that seem more engineered to be hits, and a few tracks that are just Bebe doing whatever she wants.

The album starts with "Ferrari", one of those aforementioned opportunities to show off her voice. To anyone not familiar with Bebe, this is a great introduction to her vocal range; it seems to purposefully include just about every aspect of her voice. The verses have her slower, almost spoken word tones, the prechorus raises to her near-falsetto, the rather strange chorus consists of Bebe belting "I'm a Ferrari, pulled off on Mulholland Drive", and of course, the post-chorus has Rexha using her signature nonlexical "ooohs". This is all improved on the minimalist instrumental, consisting of drums in the chorus and a sparse guitar for the rest of the track. It's a rather interesting concept, to have a full vocal showcase to introduce the album, but I can't fault it.

"I'm A Mess" showcases Rexha's penchant for explosive hooks; it's a bittersweet, almost satirical take on the trope of self-deprecative songs. "Everything's going to be alright / Everything's going to be okay / it's going to be a good, good life / that's what my therapist say"; this is self-awareness at its best. There are some rather weird production quirks in this song, with the choir effect and the dog barking in the background, and these just serve to further cement my opinion that this song is meant to be satire. Still, the powerful chorus and the pure charisma makes this song sound like a potential hit to me, and I wouldn't mind that much at all.

Skipping around a bit, I'd like to address the two rap features. Well, rap isn't the best descriptor; both of the artists featured kind of just sing in a "rap voice"? "2 Souls on Fire", which automatically loses some points from having a number in the title for no reason, is a slightly hispanic tinged western-pop-trap song that honestly can't quite fit in a category, between the guitar melody and the hi hat rolls. Bebe lends one of her best vocal performances on this track, and Quavo sounds very suitable, surprisingly. Still, this whole song just feels too slow, like a buildup towards nothing. It's slightly better at 1.25x speed, but it just doesn't have the impact that it needs. "Steady", featuring Tory Lanez, is even worth. The lyrics are uncreative, it's backed by a very average trap beat, and Tory acts far more as a feature than a duet, unlike Quavo (plus, his voice is nowhere near as interesting). Furthermore, he drops one of the worst lines I've heard all year, "I'm going to keep it 78 plus 22 with you". The chorus is a nice piece of chill pop, but that's the only really memorable part of that track.

"Shining Star", the only explicit song on the album, has SO much wasted potential. The production, again, is very guitar supported; Bebe obviously has a preference. Bebe's voice is great throughout; the second chorus really works with that exotic flavor that her voice has. I'm always a big fan of songs that tell stories, and the story of two completely opposite lovers works so well. However, apparently, Bebe didn't ever take a literature class, because this story has a beginning and a middle, but no end. Instead, she wastes the first minute of the song with a long lo-fi intro, ending the song with another long outro. This song could've been a lot more, even though the current product is satisfactory.

There definitely is some hit potential in this album. We're reminded of the lead single of this entire All Your Fault and Expectations era with Bebe's inclusion of "I Got You". I still adore this song; in fact, I think it's even better now that so much time has passed. Quoting my first review of this song, I still think that the best part about this song is that you expect an instrumental "pop drop" the first time you listen to it, but it ends up pulling a bait and switch and going to a fierce, almost rapped chorus, as Bebe affirms that "we can get high, oh na na na/ we can get low, oh na na na". The explosive chorus is just a delight to listen to, and I've noticed so much more about the production that works so well. I think that "I Got You" is probably one of Bebe's best songs ever, and I daresay that it's pretty much a perfect pop song. Not a perfect song, mind you, but it has the charisma, the freshness, the memorability, the positive message, and the staying power that all pop songs should have.

Furthermore, Expectations includes "Meant to Be", Bebe's biggest hit with a #2 Billboard 100 peak and 31 weeks at #1 on the country chart (and counting!). I... do not like this song much at all. Featuring Florida Georgia Line, it's apparently country just because they sing in "country voices"; there's not even a guitar in this song. It's trite and repetitive and I really don't get the popularity of this one when Bebe has so much better. Even worse, while this album is diverse, there is still a certain tone to it and this just doesn't work in that niche.

Bebe also makes sure to include some homages to her original darker sound. "Mine" is a great piece of pop trap and it's totally a bop. Though the production is kind of generic, with those signature hazy trap moans, there are some pleasing reversed synths and the 808s add impact perfectly. "Mine" is the most sexual song on the album, but I think that Bebe does a really good job at the concept. "Don't Get Any Closer" has an extremely bleak feel, and that's exactly what Bebe wants. This is personified by the extreme contrast between the high, almost monotone intonation of Bebe's voice and the distorted bass during the chorus. It's a neat effect; I just wish that it had a bit more payoff. It almost seems to tease an actual payoff with an abruptly stopping crescendo of drums at the end of the song, which is rather annoying.

My final highlights will be the two piano ballads, "Grace" and "Pillow", that are conveniently placed right next to each other in the tracklist. They both sound surprisingly sincere, especially "Pillow". I'm not one for piano ballads, but someone Bebe is able to pack enough emotion into each track to keep me entertained. Bebe just has a wonderful feel for intonation and how it should work. It's hard for me to say much about songs like this, but I definitely do enjoy them both, even if it's not likely that I listen to them just because of their nature as ballads.

Overall, Expectations is a formidable product, and though it certainly has quite a few shortcomings, I enjoyed it. It's pretty much what I expected from Bebe, so I suppose the album name worked. The album is incredibly diverse, so I suppose there's something here for everyone, but she does sacrifice some of the cohesiveness with this concept. Other than "I Got You", there aren't any amazing songs on here, but other than "Meant to Be", I don't think there are really any bad songs on here. Bebe has shown with the All Your Fault project that she has a lot more potential for great songs, with tracks like "(Not) the One" and "Gateway Drug". I personally think that Bebe's totally unique voice works better with a darker tone, but songs like "I Got You" and "Grace" prove that she's very versatile. Though the album's release sales weren't at all amazing, I think that Bebe still has enough potential to be a top tier popstar. I look forward to hearing what Bebe releases in the future.

Final Verdict: 65/100

Favorite Tracks: I Got You, Shining Star, Mine

Least Favorite Tracks: Meant To Be, Steady

#bebe rexha #review #music review #alternative #pop #expectations

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skymusicreviews · 6 years

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Rita Ora, Charli XCX, Bebe Rexha, Cardi B - Girls | Song Review and Discussion

Might as well put my take on the drama here as well. You've been warned.

First, the song itself. The first part that I've got to mention is the production. Most of it is very generic, but then there are those weird chanting noises in the background. They ruin the flow of the song for me, detract from the actual lyrics, and just sound bad.

For each artist's part:

Rita Ora's chorus and verse seem very uninspired. The "I'm 50/50 and I'm never going to hide it" part is good and shows that this song had potential to be a bi anthem, but it's squandered. "I'm getting down with her, uh huh" is just boring.

Charli's pre-chorus is decent if not weird. Her obsession with weed is annoying and doesn't really go with the rest of the song at all.

Bebe sounds pretty good, but since when is she LGBT at all? I guess I missed the memo. Still, the best singing part of the song.

Cardi's part (side note: why do they say "Ritaaaa..." then move on to Cardi?) is probably the highlight of the song, despite the controversy with her boyfriend possible, but unlikely status as a homophobe. Her flow is really good, especially the "seven figure, never need a ...." part. It adds the charisma that this song really needs.

Overall, this song just sounds like so much filler. The production is mostly generic, the lyrics are trite, and none of the vocal performances are spectacular. Cardi's verse is good, but not amazing.

Final Verdict:

3/10

Now, for the drama:

Personally, I didn't see a problem with this song at first. Sure, it is very carefree about the LGBT themes, but I didn't think that being carefree was a bad thing; in fact, I thought that it was good to give us some anthems that LGBT people could relate to more.

However, I had a change of thought when I realized how differently the GP would treat this song if it was called "Boys" and was sang by mostly B list male artists, like Charlie Puth, Shawn Mendes, Jason Derulo, and some rapper. That's where I realized the double standard that affects both sides of the coin, and how this song just feeds into that.

Our culture has fetishized casual lesbian pairings so much that girls getting drunk/high and kissing (or more) each other is totally normal; that's what this song is. Meanwhile, it's a total taboo for men to do something like that. Now, I'm not trying to say that men have it so bad or something, but if we keep pushing WLW as a fetish or just something to do as parties, that's going to harm most of the LGBT community. They'll take real WLW as fakers or just doing it for the attention, and they'll continue to make it unacceptable for MLM to have casual affairs.

There's nothing wrong with LGBT people having casual affairs; far from it. If hetero people are having casual affairs, expecting LGBT people to be serious all the time in their relationship would just be unfair. The issue is when pieces of pop culture, like "Girls", feed into the stereotype of girls just liking girls after getting drunk, or as a party trick, or as a way to seek attention. This is harmful to just about everyone involved. Now, is "Girls" the end of the world? No. It's not overtly harmful, and I believe that the intentions were pure. I'd just think that it's not healthy for anything to promote the fetishization of LGBT people. This song isn't unique in that aspect, but efforts should definitely be made to prevent more songs from doing so.

#lgbt musicreview ritaora charlixcx beberexha cardib

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skymusicreviews · 7 years

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Hey Violet - From the Outside | Album Review

From the Outside is the debut studio album by American pop-rock band Hey Violet (at least under this moniker), released on June 16, 2017. Hey Violet originally began as Cherri Bomb, a punk rock band, until they eventually morphed into their current situation, with a few members rotated out. Hey Violet originally was a 5 Seconds of Summer side act, but it'd be so wrong to write them off like that. Hey Violet has far exceeded 5SOS in my eyes, from their first EP, Brand New Moves, to their current state.

Stylistically, it's hard to pin down exactly what genre this album is. Though classified as "pop rock", the album is rife with EDM and pop influences, as well as a few standout tracks with different styles; there's even one that almost seems to have a Victorian style.

"Break My Heart" is a pretty good taste of the blend of styles that Hey Violet utilizes. This is the second single from the album. The verses are supported by electric guitar instrumentals, and the chorus explodes into a surprising future bass drop. This contrast sounds really great. It features rather strange lyrics (exactly what you'd think, based off of the name). Rena Lovelis, the lead vocalist of Hey Violet, has a very sweet voice and it is used to its fullest extent. The biggest issue with this song is that, other than the lyrics, it really doesn't bring anything new. Hey Violet saves that innovation for later.

And just like, that "Brand New Moves" comes in. A deliciously smooth bassline compliments Rena's voice beautifully, as every word she says drips with yearning. The intro is familiar to the iconic "Feel Good Inc", and it's just as enjoyable for me. This song was first released on the Brand New Moves EP, and only served to hype this album up so high. I've always had a weakness for ad-libs, and the "yeah" and "uh" on this song set off every line perfectly. The chorus is great in all ways; it is such an earworm, but every repetition of the same melody adds something new until it all builds up to a mountain of greatness. I do admit that this song is quite the grower, especially as you start to notice all of the layers to the production. The band has some brand new moves, and they want to try them on you.

"Guys My Age" was my first exposure to the band, and an amazing one at that. This album pulls off something I didn't really expect back in 2016; a dubstep/pop hybrid that isn't grating or cheesy. It tells the story of Rena's maturity, which could be viewed as problematic to some, but I reflect with it. Rena's voice remains strong throughout, and that bass hits SO hard. Her ad-libs are on point as always, and the ad-libs from the other band members work just as well. This remains one of the best hype songs of the year.

"Hoodie" also has that really loud and distorted bass, but it's far more bubblegum than the previous song. The lyrics are simple and almost a bit immature, but I don't think that's really a bad thing; sometimes we need those super relatable lines that just feel like a slice of life; she sings that she's "still rocking your hoodie/ baby, even though it hurts". "Hoodie" evokes that teenage heartbreak that so many people are familiar with to some degree; this is no small feat. This song was just announced as the next single of the album. So far, every track on the album has actually been a single.

"My Consequence" is less appealing than the previous songs. It's not bad by any stretch, just kind of forgettable. The lyrics aren't very good at all; "when you spill your guts, they don't go back in", she quips in a rather bored voice. References to razors and death also pollute this song. The production is nice but subdued; there's really just no passion in this song. It's kind of a let down following the other tracks. The best part about this track is definitely the drumming by Nia Lovelis; it's quite potent throughout the song. (I'd also like to say how refreshing it is to see a female drummer!)

"O.D.D." shows how sometimes even with #edgy, a song can still sound great. The lyrics seem very personal to Rena. Even from the very start, the lullaby-esque vocalizations and Rena's sweet voice help support the image of "I'm different than everyone else". The chorus of this song is rather strange, composed of Rena's proclamation that "I'm a little O D D, most people don't know me" and that cute little melody. There's a certain attitude to this song that is hard to decipher, until the very end, where out of nowhere, the beat stops. No one really expects her to drop the next lines: "F*ck b*tches, get money, blow cash", and that shock value really adds to the value of the song. It also shows how the band is capable of building atmosphere to strengthen their music; something that took a few listens for me to really get.

"All We Ever Wanted" is a short song that reeks of that Charli XCX swagger. It's fun and fresh. It does seem a bit too short; the last chorus leaves room for a bridge, but it just never comes. "All We Ever Wanted" simply sets out to be a headbanger, and I think it succeeds. Unlike any of the previous songs, it is far more rock based than before, which continues as a trend for the next track.

"F*qboi" is rather problematic. It's a pop-rock banger with iconic lines like "and when there's cute things he'd say, I bet he stole them from Drake". The lyrics are kind of weird and abrasive, especially during the bridge. The little instrumental breakdown is pretty cool, but I'm not in love with any part of this song, really. I really can't say much about this song without using swearwords so I'm just going to leave it at this: it's not very good.

"Unholy" redeems the past songs and does so much more. It's a rock track, filled to the brim with dark vibes. When Rena says : "gettin shivers all down my spine", I really feel those shivers. As the pre-chorus melds into the actual chorus, as that bass kicks in, the feeling is just so very euphoric. Everything about the instrumental to this song is just amazing; the little piano beats, the "la la la" in the background, and that drumwork is just amazing. It really shows just what the band is capable of if they really want to make pop/punk rock hybrids.

"Where Have You Been (All My Night)" is sadly, kind of generic. I enjoy it but the lyrics are kind of clunky. The production is mostly electropop, and even though it sounds really good, the chorus to this song just lets me down. This song aims to build up to a crescendo, and it does in a way; the harmonies get more and more complex and the song attempts to get into an explosive chorus, but it just doesn't do it for me. The best part is the very end of the song, where the chanted third verse replaces the chorus in a contrast that finally works. When I'm listening to this song, all I'm really doing is waiting for that sweet spot that they hit with that last verse.

"Like Lovers Do" is a completely mystical, wholly unexpected masterpiece. It starts sounding like a sweet Victorian ballroom song; sparse pianos and a simple yet charming melody, coupled with the lack of percussion really leads to a magical sound. In a generation of music that loves throwback sounds, there's really nothing that throws it back quite this far. Eventually, the rock instrumental kicks in, completely changing the tone of the song from loving and cute to angry and vengeful. "Like Lovers Do" sounds like it belongs in some award winning musical, but the whole song by itself is a journey. This song tells a story from beginning to end, from "It won't be too long, before me and you/ are doing what lovers do" at the beginning, until the dark and desolate end: "Hire a hitman to take care of you, and end it like lovers do", until it all loops back around. Every single word that Rena utters in this song has inflection; her voice dances around the melody, with every syllable enunciated to have meaning, whether loving, accusatory, or angry. I have no idea how this song came into fruition, but I know for sure that it's one of my top 10 favorite songs this year, maybe even top 5. I just can't put into words what this song makes me feel.

Sadly, I feel like "Like Lovers Do" should've ended the album, because I really dislike the next song, "This is Me Breaking Up With You". It's obviously a throwback to the band's pop punk days as Cherri Bomb, but it just sounds obnoxious. The production is pretty cool and it's nice to hear the other members of the band, even for a little chant. The vocal effects they put on Rena's voice are just really weird, and compared to the last song, it's just not very great.

Punk going pop just doesn't work well usually, but Hey Violet has exemplified exactly how it should be done. The band is extremely talented in every way; the instrumentals exceed expectations again and again, and Rena is a great vocalist, with a real talent for melody and inflection. This project cemented Hey Violet a place among my favorite artists, and is my top album released this year. There are a few smudges on the album, but I can even respect those songs for what they stand for. I just hope that it does well among other audiences; I might edit the Wikipedia page soon, because it barely even has one.

It's been a real joy to listen to From the Outside again and again, and I think it really deserves this score; the second highest I ever gave on this blog.