The Rise And Fall Of A Midwest Princess

This is the album I submitted so of course I'm going to rate it highly ;) Now as to why I submitted it: the original book has done a really poor job at representing pop music post 2000s. Seriously there is no Lady Gaga album? Katy Perry? Ed Sheeran? One Direction? Rihanna? Justin Bieber? Spice Girls? BTS? The list goes on. I get that the music isn't for everyone but in terms of reach and influence and impact, they absolutely should be listened to. You're telling me that some obscure British band from the 90s that barely has any impact on the industry or music be on the list but not Lady Gaga? Pretty pathetic. Also I found the list did a poor job at representing queer music. There are some here and there but it felt very under-represented. As a queer person, this isn't surprising so I wanted to rectify it a bit. With so many options to submit, I realised in the end that it had to be Chappell. I've been a fan since 2021 and when I saw her in a small club in 2023 I walked out knowing I would never see her again in a tiny room again. Cut to 2024 where she became a cultural phenomenon (Femininomenon) and absolutely exploded. She also is unabashedly queer and wears her influences on her sleeve (especially drag). Her music has meant a lot to me in the last 3ish years since I've been listening and I'm happy to be able to see her 3 times this upcoming year in 2025 (she's headlining so many festivals). Reading some of the other comments, I definitely agree with those who disagree with it. I think what makes the user submitted albums interesting is the wide range of viewpoints and musical tastes. I definitely haven't liked all the albums I've gotten so far. I really do believe this album will stand the test of time and will be looked back on fondly. Hell even if it's forgotten, HOT TO GO will be this generations YMCA (speaking of which... no Village People?). My personal rating: 5/5 My rating relative to the list: 5/5 Should this have been included on the original list? It's my submission so yes :)

Catchy, catchy, catchy. And saucy. Super graphic ultra modern pop perfection. Rating: 4.5 Playlist track: HOT TO GO! Date listened: 19/12/24

nope

I have been meaning to listen to more from Chappell Roan as up until today I have only heard portions of her music in clips in the media. I’m very glad this came up here and got me moving on that intention. This is a fantastically crafted album that I instantly loved (I LOVE the opening song - creating and then working the word Femininomenon into the music is pretty impressive!). This is a lot of fun to listen to! Really terrific!

Of course, yes yes sure 4 HOT TO GO! Is so fckn good, but the rest of the album doesen't really square up.

Thank you to whoever put this on the list. I love this album and honestly think that this and brat could make it on the real list in a couple editions. The 80s anthem influence mixed with creative songwriting and a charismatic vocalist are the reason two songs from this album were on my spotify wrapped this year.

I heard the name of this very recent pop- artist several times, but did not really listen to her music. I was pleasantly surprised, and I get why she 's so popular right now

Heartbreaking: Another potentially amazing modern pop album held back by generic, soulless production. Still catchy and an unabashedly queer, decently fun listen though. Belongs on the original list, and I can honestly see it getting added in the newest edition (Brat is absolutely getting on, right?). "HOT TO GO!" was great. Just really hoping to one day get to hear a modern pop album that doesn't sound like a slab of processed ham.

It's so fun, and complete filth. I love it.

Definitely too recent an LP to qualify for a best-of-all-time list just yet, which also sums up my thoughts on modern pop albums in general – Roan is clearly immensely talented, and her delivery does sound more genuine than most, but will anyone care about this album in 1-2 years? Despite Chappell’s heartfelt vocals, this feels like another slickly-produced corporate pop LP that lacks an overall soul. Sure, it’s catchy as hell and has some notable queer representation, but then again so do many other albums in this vein that dropped this year. Just feels like another cycle of the industry hype machine in general, and I doubt any of these tracks will be on people’s minds in less than a year once the new lab-grown smash hit album of the summer eclipses the public’s attention span soon enough.

It must be weird being a pop singer. You have to do the exact same things everyone else has done for like 40 years now, but you also have to pretend you're the first to do it. This latest run of female pop singers are all caught up in a trend of pretending they're a wild combination of hot and dangerous. They're neither, obviously. This one has the added advantage of an androgynous name, which I can only assume is an appeal to the gay community (her real name is probably Amanda or Madison or something). The album cover is obviously the same deal. Hot, dangerous and gay. Holy shit she's a revolutionary girl boss inspiration. Of course, you have to look past the fact it's just Kate Bush (or Lorde ripping off Kate Bush) mixed with Taylor Swift, but once you do that, holy shit this will blow your mind. Also, probably a wig. What is it with 2020s pop singers and wigs? 2/5.

Love love love. I know people are saying that this is too new to be included, but sometimes you can tell that an album is going to be a classic. And to those that say that there is nothing original here, you need to have a good long look at the world and try to find ANYTHING original….and good. And while you’re at it stop being a d**k. This album stands out, it has the X Factor, like Taylor Swift. Can’t put your finger on it but there’s just something about it. Pink Pony Club lives in my head rent free, and it is welcome.

Probably a bit too modern to be on this list of user favorite albums but yet here we are. A pretty good pop album. The singer has good range and is a blend of Leon, Taylor Swift, Kesha and Adele. Not as talented as some on that list but the influence in this album is obvious. The album has fun pop anthem female empowerment songs and that’s enough to build a following and sometimes plenty of critics. Nice average pop album. Doubt I’ll revisit it though. 5.5/10

Thanks to memes or the internet or whatever I was familiar with Chappell in abstract. I had also heard clips of Pink Pony like 100x. But listening to the album in full, I totally fucking get it. This thing is SO good. Full on bubblegum pop revitalized for the 2020s. She's got some pipes on her, and the songs all have enough variety to be interesting while still maintaining the pop aesthetic. Due to coincidental events happening in my life *while listening* to this album, it will hold a place in my heart forever.

Rating: 9/10 Best songs: Femininomenon, Red wine supernova, After midnight, Super graphic ultra modern girl, Hot to go, Picture of you, Pink pony club, Guilty pleasure

A modern masterpiece! Chappell Roan is Gen Z's Liz Phair and I am fucking OBSESSED! I'm an old Millennial whose musical tastes have stayed staunchly narrow as I've aged, I'm known for sticking with the grunge, pop, alt, and classic rock that makes me feel that exquisite nostalgic ache that only the music of your youth can. Once in a while I branch out. For something worthy. This is worthy! It's poppy and catchy but so viciously raw and vulnerable too. Perfect combo of contrasts, it's delicious. I'm going to listen to it until I've completely overplayed it.

This album came out after I started the 1001 albums project, meaning I've wanted to listen but never had time. Hooray for including it! I love it!

This is the second time I've listened to this album in a fortnight - and it's actually pretty good. Very poppy, although I do question whether this album will have staying power. It's just a shame that so many people are latching on to it being new. The fact that we've regressed to the point that campy excess is considered to be innovative really is heartbreaking. I guess it's a fight we have to have again and again and again.

An incredibly confident debut album that I enjoy more with each listen. The production and Roan’s songwriting are so strong, and the album combines amazing hooks and danceable pop with more tender and genuinely touching ballads. The lyrics are clever, impactful, and often very very horny, and the songs really stay with you. It does tail off a bit after Pink Pony Club in my opinion - the last three songs are probably the most forgettable on the album which is a bit of a shame as it gets so close to a perfect landing. But it is such a strong debut on the whole and, especially after blowing up even more with last year’s fantastic single Good Luck Babe (her best song by far), I’m very excited to see what Chappell does next. Not only does she write great music but she’s already proven herself to be a significant voice for change in the music industry, whether that’s being very vocal about trans rights and honouring her various influences from queer and drag culture to her recent speech after winning Best New Artist at the Grammys calling on record labels to offer healthcare and other work benefits to their musicians. The Midwest Princess has had a meteoric rise and I do not expect her fall to come any time soon

Love to see this as a recent addition. I remember this making the rounds back in 2023 and not even being interested in listening (mostly because of the cover - very gaudy, glamorous in a way that doesn't appeal to me and isn't supposed to). She also looks sort of old and evil in this shot - why does she look younger now? Anyway, Chappell started blowing up in 2024, and when I got around to listening, I realized it was a great album. She's got a strong, emotive voice and some good songwriting. Hearing it again this time, I liked it even more, and was frankly more impressed with the production. This is some fantastic pop music, with strong musical senses. "Femininomenon" is such a big highlight for me, the structure and progression of that song, and the drowning guitar. Hell yeah. "Pink Pony Club" is another big one, that and "California" are very confessional, emotional songs about her separation from her roots in favor of a different world. This album is absolutely worth the hype, and frankly it's one of the best pop albums of this decade so far. As of right now, 2025, I'd still rank the Weeknd's After Hours as my favorite in that category, but she's not terribly far off with this one. 4.5/5

I never would have sought this out on my own, so thanks for recommending it. I'm unconvinced that this is an album I needed to hear before shuffling off, but it was pretty fun. Catchy, well-produced pop with a fun mix of torchy and danceable. The lyrics are strikingly honest and Chappell Roan has a strong vocal, but she loses steam somewhere on the back half. Fave Songs: Femininomenon, My Kink Is Karma, Coffee, Picture You

Of course, for such a recent album, giving five stars feels premature. Yet, at the same time, this feels like a moment captured - a joyous hymn to individual self expression and release. I suspect we have a classic on our hands.

Kinda hard to not know about Chappell Roan right now but this was my first chance to listen to anything, and The Rise and Fall of a Midwest Princess is really really good. A lot of modern pop stuff doesn't really work for me, probably for a load of reasons, but this is done so well, with depth, pathos, humour, and blending a bunch of influences over the last 30 years or more and making it work. HOT TO GO! is cracking, Red Wine Supernova not far behind, I also liked Super Graphic Ultra Modern Girl and My Kink is Karma. When she goes into ballad mode she's got chops there too, Picture You/Kaleidoscope/the first coupla mins of Pink Pony Club tick the boxes. Damn if I wasn't super impressed.

A modern pop classic in so many ways. I fully expect it to be updated onto the next version of the proper 1001 Albums list.

Good, solid pop music. Not really breaking any new ground, but I like her voice and the songs are catchy. 4 stars.

The Rise of Chappell Roan explained in an album.

I am shocked and delighted to see this album on this list. This was the talk of the town last year as people everywhere succumbed to the siren song that is Chappell. I coached some interns through a project last summer and one of them showed me the "Hot To Go" cheer leader type routine. My wife, funny enough, was showing me things like Pink Pony club before she even broke through to the masses. If anything, last year was dedicated to her. It's pop, it's fresh, and it's catchy. What more do you want from a Midwest Princess? Favs: Femininomenon, Red Wine Supernova, After Midnight, Super Graphic Ultra Modern Girl, Hot To Go, My Kink is Karma, Pink Pony Club.

Great example of modern pop that’s actually good.

Not bad. Not exactly my cup of tea but it has qualities

I don't consume much media outside my self-curated selections and the occasional oddball project like this, so I'd actually had minimal exposure to this artist I've been hearing so much about. After the hype I'm honestly a little surprised how much it came off for me as pretty straightforward pop. It was fine, I listened amiably enough, but it just didn't particularly distinguish itself. Lyrically yes there is racier and more societally fringe content but even there mostly it was good old fashioned 20-something dating angst.

This was actually pretty solid, and I found the singles to be the worst tracks.

Great fun catchy pop album. Diverse songs and amusing lyrics. The production is sometimes a bit too flat and the songs do not always stand out.

I like some of her songs but everything on here sounded the same to me.

Pop, synth-pop, dance-pop. Ni fu ni fa.

Better than I was expecting it to be.

My wife loves this album, and I can kinda see it.

An album absolutely stuffed full of its influences, with "the Taylor Swift song" and "the Lana del Rey song" particularly obvious. None of this is a bad thing, just a bit odd to hear odes to individualism in the style of someone else. I am definitely not the target audience for this, so she'll not care in the slightest what I think anyway!

Rude Taylor Swift

What a find. Great fun pop

Fantastic!

She’s just out here making great pop songs! First time I heard Hot To Go I was doing the stage set up for a gig and I knew it and loved it by the time the second chorus came around. I went home and played to my family and now my 1 year old loves it and will demand I play it for him with some weird, uncoordinated form of toddler semaphore. Along with Olivia Rodrigo they’ve restored my faith in music in the 21st century (props to Dan Nigro). Nice one OP, great choice.

I started with the intention of hating this completely due to the recentness and popularness. It’s nice vibes that remind of Obama-era danceable pop. A Lady Gaga of the 2020s. Will I be angry if my wife puts it on again? Nah. Did this change music history? Nah. Will we be listening to this in 40 years Nah. Would I get down to this if it was the sophomore year of my undergraduate. Hell yeah

She's definitely got enough HOOK. Well produced and good sounding. Though a little bit corny and over the top at times, it is definitely got swagger, style and a great pop angle. Enough variety and strong tracks to make it a fun listen.

It's poppy and upbeat. In some ways, it's like Lorde, but a bit more upbeat, such as HOT TO GO. Interesting listen.

WAY more personality than brat. Feminomenon is one of the most annoying songs I've heard in my life (writing "get it hot like papa john" into the CHORUS?! what is WRONG with you), but I actually liked the rest of it! Roan's one of the more interesting acts in pop music right now, and the original list should have more of this kind of thing on it.

Filthy, bright, modern. Sounds ace. My only worry is that it won't t stand the test of time and it will be forgotten. Deserves a 4.

The rise of midwest pop princess Chappell Roan occured so quickly you're sometimes expecting her proverbial rocket to explode in mid-air soon, i.e. before reaching a position that would ensure she stays in people's minds in the long run. Plus, Chappell looks quite fragile as a person, and it wouldn't be so surprising to hear that her sudden fame has already taken its psychological toll on her, and this in ways that could even damage her future career. Not that I wish this for her, nor that any of those tabloid nuggets should influence your personal artistic assessment of her debut album, popping up on my generator today. Yet those dubious nuggets still provide a context that is helpful to express the very nature of this quite complex (should I say "convoluted"?) release, and this whether you like Roan's songs or not. In a sense, a few themes evoked during the course of this breakout album proactively address the potential *fall* Roan might go through one day -- it's all in the title, isn't it? It's that same old story -- the one of the pop star reaching the skies too soon, and burning her wings as she gets closer to the sun, unprepared. It's when the homecoming queen gets betrayed and trampled upon that you get the juiciest stories, right? Beyond the pop song formulas you can therefore sense some higher stakes at play in this record. And given the overall effect of the album's artwork, subtly suggesting that Roan is too unhinged and "dysfunctional" to become a beauty pageant winner in the first place, there might even be a second layer of irony here--one that could point to a tragic fall indeed. Musically speaking, the idea is translated through the idea that Chappelle refuses to say in one lane within the umbrella pop genre. Roan is not "stable" enough, she's all over the place. This is maybe how she both uses and subverts stereotypical tropes about how women artists are too often viewed as "hysterical" or "unreasonable". She is a product, yet you can't easily shoehorn her into one single category. That's how Chappell may appear as bold and daring for some, I guess. There's a darker side to that coin, though. Actually, it's because Roan and her team make sure that as many songs of theirs reach as many target audiences as they can that you may start to raise an eyebrow as you listen to this LP from start to end. In a sense, there's *too much* going on here. You have a little bit of everything for everyone -- some easily digestible melodies for general pop audiences, some bouncy rhythms subtly leaning towards hyperpop for younger gen-z and gen-alpha kids, unmistakable camp flair and a couple of LGBTQ-minded lyrics aimed at queer and gay audiences, a recycling of eighties pop tropes for the older gen-X audiences (think Madonna, Cindy Lauper or Eurythmics), even some winks at the indie world, like those sometimes coarse lyrics reminding you of Liz Phair, or that album cover hearkening back to Hole's *Live Through This*. This profusion of references, which is exciting and dynamic on paper, comes with a price, however. Who is Chappell Roan, really? It's hard to shake off the impression that she is first and foremost a product. A multifaceted one for sure. But a product nonetheless. To be clear, the problem is not "variety". The problem, at least as far as Roan's output in the *album format* is concerned, is whether or not she succeeded in self-editing said output so that you have a smooth ride from the first to the last cut, even with the many twists and turns on the way. And it looks like some minimum amount of self-editing would have indeed helped erase the pivotal flaws within this admittedly ly exhausting journey. Exhausting because many elements in this debut neither rhyme nor reason, and some stylistic jumps are even jarring, especially in the middle of the record. It looks like only a "maximalist", "productive" approach has been considered here. Hence that suspicion that Chappell is a product first, and that she is therefore not fully in control of whatever it is that she wants to say on a purely artistic level. I wish I could have avoided going into details here, but I need to explain why I'm subjectively so severe for a release which has objectively reached its intended goal within the pop market. Because we should be dealing with talking about art here, not commerce. And there can't be a "little bit of everything for everyone" in *any* record without checking if each style here harnessed holds water first. So let's do this one song after the other. "Femininomenon" is a fantastic start for the album, I'll give it that. It's a wild and fun statement, whose feminist sloganeering and upbeat dance rhythm is a subliminal promise for other cuts in that vein later (too bad those other songs are not as good, but more on that later). After that, "Red Wine Supernova" is less hectic, yet still lively and quite catchy, promising another type of songcraft that's closer to Taylor Swift's more formulaic trade this time around (but more on that later as well). Major problems arise as soon as the third track's irruption, though: "After Midnight" is an attempt at providing a neo-disco hit, but it only comes off as subpar Dua Lipa or second hand Jesse Ware. It's a rather unmemorable and predictable cut, and you can already sense that Roan and her team are out of their league for a couple of substyles they tackle with -- hence why more self-editing would have been preferable for the whole shebang. A lot of songs then go in pairs on a stylistic viewpoint, as if they were too scared to be parachuted on their own within the tracklist, and needed a like-minded companion next to them to properly exist. It's quite a strange choice tracklisting-wise, which ironically enhances the overall lack of cohesion impacting this project to an extent. Roan thus offers two ballads in a row, "Coffee" and "Casual", and both of them are about the same theme as seen from both sides of the fence: attachment and even addiction to the wrong love interest. The witty, near-universal lyrics of those cuts are the best thing about them, given that the music has already been heard a thousand times before, to put it in a nutshell. Then comes a pair of upbeat eighties pop supposed "bangers", "Super Graphic Ultra Modern Girl" and "Hot To Go". The first of these is actually so linear, predictable and heavy-handed that its hard for me to take it seriously. And if the second one fares slightly better, its shouted female group vocals are still particularly annoying. and I predict they will age like milk. After that, Roan reverts to slower pop with "My Kink Is Karma", digging the same revenge-fantasy-on-an-ex's-arse vein as the one routinely dug by Taylor Swift. And the result therefore feels derivative somehow. And so does the one yielded by the pair of torch songs following "My Kink Is Karma". "Picture You" and "Kaleidoscope" thus both straddle the fine line between a classic soft-rock feel and a predictability that verges on boredom composition-wise. Those tracks are far from being offensive, but they don't exactly offer thrills or ignite sparks either. So only *one* of these contractually-obligated ballads would have been more than sufficient here. Chappell is still a fine lyricist though, and her talent particularly shines on the couple of songs that follows -- both of them most clearly addressing gay and queer themes within the album. The enticing, synth-enhanced "Pink Pony Club" sees Chappell's protagonist dreaming about escaping Southern bigotry and going to L.A before a very eighties-like electric guitar solo. And new-wave-indebted "Naked In Manhattan" switches the scene from L.A. to NYC so as to narrate a lesbian love story, using this opportunity to namecheck David Lynch's *Mulholland Drive* and Lana Del Rey -- the latter a clear influence on the song following this one, (along with Weyes Blood, maybe). Because yes, we then take a plane back to "California", thanks to the most melancholic tune in the album -- still harboring quite lively tom drums on its final chorus to spice things up a little, yet definitely on the side of nostalgia and heartache. This song also illustrates the title of the album, by the way -- how a Midwest ingénue becomes disillusioned after her stay in California -- which brings much-needed cohesion to the proiect, since the song could be interpreted as the tune the now wiser "Pink Pony Club" protagonist would sing five or ten years later, "missing the seasons in Missouri", while knowing better about the empty promises of L.A.. Roan ties things up at the eleventh hour, but at least she does so. So it's funny how the last leg of the album is far more convincing and cohesive than its first two thirds, both for the lyrics AND the music. Even closer "Guilty Pleasure" provides the most, well, *pleasurable*, Eurythmics-indebted synth pop cut within the record (only bested by the extraordinary one-off single "Good Luck Babe!", unfortunately not released yet at the time). Roan's entranced final vocal performance in that closer allows her to end the album on a high note, in all the sense of the word, and given that I can more easily forgive a somewhat botched LP when it displays its best songs at the end, such late assets can only be a huge plus for me... Is that enough for me to consider including *The Rise And Fall Of A Midwest Princess* in my potential list of 1001 essential albums? I'm still very unsure about this. I still think this LP is overrated, and that the person who submitted this album lacks perspective somehow (as well as every other reviewer who gave this a 5/5 mark, and there are quite a few of them!). And it's not only because the album is "recent" that I want to remain cautious here. It's also because, even if large selling numbers often equates long-term cultural impact, it's NEVER a sure thing. Music history proves it. ----- A coda: I want to be more specific about what I have written in that last paragraph up there, going beyond that particular Chappell Roan album. In their review for their own submitted LP, the person who chose this debut rants about how post-2000 pop has been snubbed by Robert Dimery and his team, and that doing so is turning a blind eye to the cultural impact of those pop artists within the "industry" -- artists such as Lady Gaga, Katy Perry, Ed Sheeran, One Direction, Rihanna, Justin Bieber, Spice Girls, or BTS... My cringe-o-meter sure reached a sky-high level when I read some of those names, "poptimism" be damned, but my personal tastes actually don't matter that much. What matters for me is that I consider the line of thought being expressed here as quite questionable in a more "objective" level. And I'm gonna try to explain why. For starters, all sorts of important styles post-2000 have been snubbed in the 1001 albums book, not just pop music. It goes with the territory of a book project started at the end the 20th century, which is still limited by a finite number of entries for its subsequent 21st century editions. So why would you only set the balance straight for commercial pop, which already has a lot of exposure, and therefore needs less critical praise overall to exist and reach its audience, at least compared to more "niche' genres? Besides, and as I said earlier, it's not because an act sells a lot of copies within a decade that it is going to be remembered fondly in the decades after. When said acts are remembered at all! I would encourage the person who submitted this Chappell Roan debut to check the charts of the sixties and seventies. They would probably realize the sheer amount of artists reaching the top of those old charts that almost no one remembers about today -- contrary to a lot of other names who didn't hit those charts at the time, and yet are now considered as pivotal artists from those decades. In other words, you can't count on the music "industry" (a word that appears twice in that person's review, if I'm not mistaken) to tell you anything serious about long-lasting cultural impact. This is what "poptimism" forgot a little too conveniently, just to cater a little more to the market's needs. This doesn't mean pop music shouldn't be mentioned in lists such as this one. This just means that sales numbers are only a factor among many others when you try to pinpoint genuine cultural impact, especially in a field as subjective as music appreciation. Browsing through the high and highest-rated albums of the person who submitted this album, I'm pretty sure I could see eye to eye with them on a lot of things -- including the place pop music can take within an admittedly objectively-impossible-to-reach "canon" of essential albums. I already know this person to be very open-minded, given the albums they selected. The thing is, you can be open-minded while keeping a minimum amount of critical distance. And of course, no one is objectively right or wrong about those things. It's just that there are more or less convincing ways to "defend" your subjective choices. As a peace offering to this person, here is a made-up tracklist for *The Rise And Fall Of A Midwest Princess* which, in an alternate universe, would have probably encouraged me to directly include the album in my own virtual list of keepers. This here is a way to state that I don't snub pop just because it is pop music. It's just that, like for every music style, the "flow" and the dynamics of an album's tracklist are very important for me. And that I'm 100% sure there were ways for Roan to shine (even) a little brighter in the album format. So here's that "more ideal" tracklist: 1. Femininomenon 2. Red Wine Supernova 3. Good Luck Babe! 4. Coffee 5. Casual 6. Hot To Go! 7. My Kink Is Karma 8. Kaleidoscope 9. Pink Pony Club 10. Naked In Manhattan 11. California 12. Guilty Pleasure 2 3.5/5 for the purposes of this list of essential albums, rounded up to 4. 8.5/10 for more general purposes (5 + 3.5). Number of albums from the original list I find relevant enough to be mandatory listens: 465 Albums from the original list I *might* include in mine later on: 288 Albums from the original list I won't include in mine: 336 ---- Number of albums from the users list I find relevant enough to be mandatory listens: 16 Albums from the users list I *might* select for mine later on: 29 (including this one) Albums from the users list I won't select for mine: 59 ---- Émile ! J'ai répondu à ton message. Regarde environ 20 reviews au dessus ! Pas de nouvelle réponse de ta part, mais c'est pas un souci, je compte juste vérifier toutes les deux semaines environ. On est pas aux pièces, comme on dit sur le vieux continent.

She's so delightfully weird, how can you not like this album? It reminds me a lot of the vibe of Cyndi Lauper's She So Unusual. Just incredibly well-crafted pop songs with great music underneath them that keeps you nodding your head while keeping the focus on the vocalist 4/5

Was all ready to hate on this as thought she was just another bland disposable singer in heavy make up of which there are thousands at this point in time. First song caught my attention as at it's best it's subversive pop acknowledging and playing within the genre. Certain songs seem like they could be sung by any whichever generic blonde the music industry is currently pushing (after midnight). At certain points her own style shines through (My Kink is Karma) That said there are quite a few songs which are just standard pop songs with a bit of sex talk in them to appeal to teenagers who think they're edgy (Casual) Overall interesting and better than 99% of chart music in the last 10 years. 3.4

Slay boss queen

Fun album!

This woman has great vocal energy, her music represents that dynamism and rhythm. I don't feel that the album has any songs that stand out as a hit, however it is a very consistent album in most of its tracks.

😐 "I think I'm too old to get this" - said the boomer.