Charli xcx: A Musician's Complex Evolution on 'Music, Fashion, Film'

At the forefront of modern pop music is Charli xcx, an artist known for pushing boundaries and exploring new sounds in her music. 'Music, Fashion, Film' — her fifth album — is no exception to this rule, presenting a stark departure from her previous work, 'Brat.'

'Music, Fashion, Film' doesn't aim to rival its predecessor, instead offering a different kind of album that's grounded in tension and dissonance. With a runtime of 17 minutes and four tracks longer than three minutes, this album anchors itself in stark, unsettling soundscapes. For those expecting another euphoric experience similar to 'Brat', they will be disappointed. Instead, 'Music, Fashion, Film' feels more akin to 'the stark chill of ketamine', a jarring, disorienting experience that will keep listeners on their toes.

From the opening track, 'Rock Music', it becomes clear that Charli xcx is experimenting with new styles and sounds. This album opener, much like her early work 'I Love It', showcases her understated yet humorous vocal delivery and a dash of British charm. 'Rock Music' may have a playful, slapstick feel, but it's one of the few flashes of light-heartedness on an album that largely descends into darker, emptier tones. Tracks like 'SS26' and 'Camera' showcase this bleakness, with 'SS26' painting a vivid picture of impending doom and 'Camera' delivering an anxious, glitchy ode to feeling seen.

The brevity of each track leads to a disorienting experience, but one that highlights the artist's bold experimentation. Tracks like 'Card Declined' and 'I'm Afraid' stand out for their bleakness, each delving into themes of consumerism and fragile relationships respectively. The music itself is stark and unsettling, making listeners feel the weight of expression and its impossibility. Guitar riffs are chopped and rearranged like synths, beats are slowed with deliberate precision, and the overall feel is unapologetically matter-of-fact, even for an artist as experimental as Charli xcx.

'Music, Fashion, Film' owes more to minimalist indie artists like The xx and Sleaford Mods than the hyperpop genre. Tracks like 'No One Lasts Forever' showcase this, closing out the album with a nearly six-minute distorted pop anthem that fades into an endless locked groove by David Cronenberg, his voice slipping in and out of phase with itself. While some may associate this tone with mental health, the artist has refused to discuss the meanings of her songs in a recent Rolling Stone interview. Regardless, this album does an exceptional job of capturing the feeling of depression, presenting it in a flat, hopeless light, like 'the sting of a hopeless desire to feel something'. Tracks like 'Yeah' take this deadpan tone to an extreme, featuring an uncomfortable close voice and a disarming riff that sounds uncannily out of context.

This 'unsettling brilliance' is not about inspiring a new 'No One Lasts Forever Autumn' but is instead meant to be savoured in quiet privacy. Charli's willingness to explore new sounds, styles, and emotions will undoubtedly earn her new respect and acclaim in the music industry. 'Music, Fashion, Film' is not a 'hyperpop' album, but an evolving experiment that sets her apart from her peers. While the tone may be bleak, its unsettling complexity will linger long after the 17-minute runtime has come to a close.

Ultimately, 'Music, Fashion, Film' is a statement of intent from Charli xcx – a musician willing to push the boundaries, challenge herself and her audience, and explore new sonic landscapes. It may be an uncomfortable watch, but one that showcases the complexities of her music, leaving listeners eager to see what she does next.