Review. Addison Rae’s album « Addison »

Do you know those where fish that suck on the stomach on a larger fish and go skiing? So Addison Rae is on Charli XCX. And I really mean that as a compliment.

Two years ago, Addison Rae was a goofy Tiktok celebrity. A stylish but totally unmatched twenty-something girl from Louisiana who was good at dancing among a thousand others. Sure, her video for « Wap Challenge » is the most viewed dance video on Tiktok ever, but besides that, not much made her appear as something other than a dozen influencer.

Then Charli XCX suddenly tied addison. As a kind of plow, they thought first – a way to agree with low status and camp. But through more smart alliances – as with the ultracoola dancer Lexee Smith, the alternative electronic artist Arca and Swedish songwriter Elvira Anderfjärd – Addison Rae managed to reinvent himself at Sant Popstjärnér. From bland internet celebrity to messy, sexy, style-forming popidol of the 2020s.

Addison Rae is like such a product of the moment. With her, several of the most distinctive currents meet for the first half of this decade. On the eighth of March Did I write about how the present was occupied of Main Pop Girls Like everyone offers something of its own – like a bustling spice girls with archetyp for all tastes. What mainly distinguishes the present pop girl is that she is white.

If the 2010s were dominated by artists such as Beyoncé, Nicki Minaj, Rihanna or Cardi B, who often played with racist stereotypes about the aggressive sexual black woman but at the same time stood for an authority sexuality, the 2020s Main Pop Girl is a light-shelved girl-like duck on a scale of a scale of a scale from Porn Fantasi-Cheerleader (Tate McRae). « Do I Provoke You With My Tone of Innocence? », Addison sings on « Fame is a gun », wearing cute hair buckle and knee socks. The hit « Diet Pepsi » is about being a teenager and losing the innocence in the back seat of a car.

Addison also represents this shift in how her revelation is a categorically distancing from the infected, scheduled, made Kardashian amazon from the past. She wears neither loose hair nor eyelashes, has short nails, no contouring, no BBL and usually no bra. Her style and unpolished, unretouched social media presence is absolutely central to her artistry, and it feels young and, yes, personal. An unbideness and attitude that causes Addison to stand out and stand for something really new.

But if her wild revelation is one half of magnetism with Addison, the other half is entirely Elvira Anderfjärd’s merit. The Max Martin-linked 25-year-old Swede, who previously worked with Tove Lo and here collaborates with Austrian Luka Kloser, is quite brilliant. Her luxurious, defined production, with melodies worthy of one from Martin’s stable, complements Addison’s radiance perfectly.

On the album has it Added five songs in addition to the singles, which are undoubtedly the strongest. The basic theme is Addison’s gasping voice and a very trend-sensitive, clearly Klas Åhlund-inspired, dance pop with elements of r’n’b and triphop from the early 90s. The lyrics consist of a kind of intelligent popsatir where Addison takes on the role of stupid bimbo à la Paris Hilton or Britney Spears – the lines « Black Car, Pick Me Up From The Airport/Drop My Bags at the Bowery Hotel/NEXT STOP TO THE CLUB, IM A DANCE. reaches a special kind of straightforward wisdom.

Addison is « the last Addison Rae album » according to the artist himself, a statement everyone has interpreted as addison intending to dump Rae and henceforth release music under his first name. A rather tame attempt at new persona when compared to pop -historical pioneers, but who at the same time gives hope that she is planning for a longer career. Because as a dance fluid-cracked-flash star, no one would be surprised if it turns out that former Addison Rae only has this album itself. It’s not bad.

Best track: « Headphones on »

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