Album Review: Ariana Grande - My Everything
Who the hell is Ariana Grande?
That’s a question I asked myself towards the tail end of
2013, when I started to see things about her cover of “Last Christmas” popping
up on the Internet. And my first thought was, “Oh great, another person decided
to shit all over one of the greatest pop songs of all time.” I mean seriously,
do I need to draw a flow chart? It’s like—are you thinking of covering “Last
Christmas?” (Yes/No) Are you a member of Wham? (Yes/No) If you are in Wham,
then man, go right ahead, but if not, then just fucking stop.
Anyway, the Internet has also told me that Grande is best
known for her roll as “Cat Valentine,” in a plethora of Nickelodeon television
shows. Grande is also a singer of sorts, with her full-length debut, Yours Truly, having arrived in stores
just over ago. And like most Disney
starlets, they eventually want to grow up and have some kind of career, or
something, and her latest effort, My
Everything, is her attempt at just that.
And I’m not just kidding about her being a “singer of
sorts.” Much has been made of her inability to annunciate and articulate her
words when she sings. Like I am by no means a singer, but I have a hard time
understanding why Grande just can’t try a little harder to make sure she
actually hits all of her words, not just slurring through some of them.
My Everything is
designed to be this year’s Bangerz or
Prism, in the sense that it’s a “big”
pop album from a young female pop singer. It boasts two singles that could be
strong contenders for your “summertime jam of 2014”—including the saxophone
heavy “Problem,” and the Zedd produced “Break Free.” The whole album oozes with
studio sheen, and it sounds like it cost someone a lot of money to make. From a
promotional standpoint, Grande has been seen wearing thigh-high white boots for
the “Problem” single artwork, and writhes around in zero gravity in the video
for “Break Free.” Barely 21, she looks incredibly uncomfortable with it all, as
if she’s stuck between the sexuality she’s expected to use, and the doe eyed
innocence she’s attempting to leave behind.
Both singles work because they are practically caricatures
of what a pop song is—“Problem” follows, literally step-by-step, the
instructions on “how to make a pop song” from that joke video that was making
the rounds online earlier in the summer. It builds a hook from an untraditional
instrument (the sax), and is structured around simple (and catchy) repetition.
Oh, and it also includes a rap breakdown from Top 40 rapper of the moment, Iggy
Azalea, whose post-Minaj cadence (like much of this album, honestly) leaves a
little to be desired. But it’s a big dumb fun pop song. So whatever.
“Break Free” takes things in a different direction—with EDM
producer Zedd on board, the song becomes a bombastic club anthem. Like, as
insipid as it is, I can see people literally losing their minds when this shit
comes on in the club, and everyone is out on a packed dance floor, sweaty,
holding a drink, dancing with reckless abandon, with lasers and lights and all
kinds of cool shit going on around them. I always feel like Zedd is trying to
recapture the straight up magic of his 2012 song “Clarity.” He has a formula he
likes to stick to, primarily involving a lot of synthesizers and big sounding
beats, and female singers. With “Break Free,” he is practically on the cusp of
something great—it’s by no means a worthy successor to how seriously incredibly
“Clarity” was, but he does surpass some of his own recent work that fell short.
Structurally, My
Everything plays its hand way too soon, sequencing both “Problem” and
“Break Free” very early on, slowing the pacing down with a very guest heavy mid
section. Four songs in a row feature cameos from either rappers, or in the case
of the cringe worthy titled “Love Me Harder,” a guest spot from R&B
lothario The Weeknd, who feels especially out of place on an album like this.
And despite every instinct telling me to hate “Break Your Heart Right Back,” the “I’m Coming
Out” sample on the refrain is actually rather welcome. 1
My Everything is
the kind of album that nearly buckles under its own weight; losing steam by the
time it arrives at the closing ballad, “My Everything.” But that’s just the
standard LP’s closing track. Much like every album ever released in 2014, there
is a myriad of versions available with varying bonus tracks—the iTunes “deluxe
edition” includes the triple threat single “Bang Bang,” which also features
Nicki Minaj, and Jessie J, and despite the internet attempting to tell you
otherwise, believe me when I say that it is awful. Like so awful and atrocious
that it is unlistenable.
Grande is certainly not clever enough as a performer to
create a “concept album” per se, but there are some recurring themes and,
strangely enough, imagery, that runs throughout My Everything. The idea of “angels and devils” and “sinners and
saints,” appears in two songs that arrive very early on, and there is a bit of
an air about much of the material that speak to heartbreak and regret—at least to
some extent anyway. And that’s odd, because the album itself does open with an
incredibly unnecessary and insipid intro track that, aside from sounding like a
robot warming up their voice, Grande delivers a short verse that includes the
lyrics, “I want you with me on this road
to the sky. We’ll be shining every night, I promise you.” Musically, then, this intro track is revisited
slightly on the album’s final song.
Since “Problem” was released as a single back in April,
Pitchfork has been trying pretty hard to make Ariana Grande a “thing”—and by
that, I mean catering bubble gum pop music to the indie crowd, in either an
ironic or earnest fashion. I don’t think they care one-way or the other, as
long as people buy what they say is “good.” An artist that used to be on
Nickelodeon probably doesn’t care if hipsters want to buy her records or not,
however. And since I started writing this review a few days ago, this “indie
cred” campaign has peaked with P4K giving My Everything a 7.7, despite a somewhat backhanded review.
Is My Everything worth
a 7.7? No. Of course it isn’t. But is it catchy, and at times infectious. Is a
single like “Break Free” a gigantic pop music guilty pleasure—of course it is. The
album, as a whole, while thematically disorganized and lacking focus at times,
falls somewhere between Bangerz and Prism as far as a young female pop star
attempting to take risks. And despite what seems to have been a lengthy
gestation period for this album, Grande, as a performer, needs more time to
develop into her own.
1 It’s worth noting
that while I take criticism with the Pitchfork review of My Everything, which in and of itself, is an idiotic thing to do,
writer Meaghan Garvey was kind enough to point out that the song “Break Your
Heart Right Back” is basically one long gay joke. Which is something, I will
admit, I did not catch during my initial listen of the song.
My Everything is out now on Republic Records.
My Everything is out now on Republic Records.
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