If you’re a pop music fan who spends time online, you’ll probably see a lot of negative reviews for Katy Perry’s new album, “143.” You may even begin to believe that criticism is exaggerated or biased, the result of a herd mentality.
I am here to assure you that it is not. The negative reaction to the release of Perry’s seventh label has received much, if not more, generosity.
This is the first album I’ve ever reviewed that doesn’t have a single cut I’d recommend to a friend. At least Perry’s previous release, 2020’s “Smile,” boasted the presence of “Never Really Over,” which remains the pinnacle of Perry’s career. Here, on “143,” there is no standout song, no clear point.
Songs like “Lifetimes,” “All The Love,” and “Nirvana,” which are forgettable but at least listenable, stand out. If they were included on a good pop album, they would easily fall into the jump zone.
The best part of “143” is Doechii’s verse on “I’m His, I’m Mine,” which the duo performed during Perry’s VMA medley. But even the self-proclaimed Lady of the Swamp it just can’t add enough substance or charm to save the song from its Crystal Waters sample and lifeless la-da-dee-la-da-da’s. It sounds like Perry and his producers – in this case, Dr. Luke and Rocco Valdes – took an old dance song and surgically stripped it of its soul.
Indeed, “143” cannot be measured in good faith without mentioning Dr. Luke and the controversy surrounding his meeting with Perry.
Before this year, the troubled producer had not worked with Perry since he was sued by Kesha (Perry’s one-time girlfriend) in 2014. sexual, physical and emotional abuse at the time he was signed to his own label, Kemosabe Records.
Dr. Luke denied all of Kesha’s affairs and sued for defamation. The two parties reached an undisclosed settlement last year, shortly before Perry confirmed she was working on new music.
When Perry launched the “143” era in June, fans who supported Kesha during her long legal battle were disappointed that Dr. Luke, an abusive prosecutor, has been confirmed as the first producer of “Women’s World,” an attempt to empower women. song. But that was just the bottom line when it came to Dr. Luke.
When asked to explain why he decided to work with Dr. Luke again, Perry gave a vague, imprecise answer: “I understand that it started a lot of conversations, and he was one of the many colleagues that I interacted with. ,” he said “Call”. His father” host Alex Cooper. “But the truth is, it’s from me.”
The real truth is that Dr. Luke is full on this album, credited as the creator of every song but one: the closing track, “Wonder.”
Many of the album’s producers, including Valdes, Aaron Joseph, Vaughn Oliver, and Theron Thomas, are colleagues of Dr. Luke, protégés, and Kemosabe signees. Perry did not choose to work with Dr. Luke again; he immersed himself in his inner creative self.
Dr. Luke, Katy Perry, and Cirkut attend the 2014 Grammy Awards. Lester Cohen/WireImage
Even if you set aside the allegations against Dr. Luke, “143” gives no strong reason for his suggestion. Nowhere did the inventor become a sought-after producer.
Long ago, Perry’s partnership with Dr. Luke produced two singles on his 2008 debut album with Capitol Records (“I Kissed a Girl” and “Hold n Cold”), followed by a top five hit on his seminal sophomore album in 2010 (“Teenage Dream,” “Last Friday Night,” “California Gurls,” “The Departed,” and “ET”).
Those songs were meant to be fun and radio-friendly, sure, but they were also incredibly weird.
At the time, no one could accuse Perry of being boring. She arrived in the pop pantheon as one of them, happily armed with cherry chapstick, colorful wigs, whipped cream bras, and thoughts of alien sex. His producers were able to match his unflappable mood with atmospheric riffs, swelling melodies, and sticky melodies.
However, none of the songs mentioned above were the efforts of Dr. Luke. His name was always joined by Max Martin, Benny Blanco, or both – which now, in retrospect, seems like an important piece of information.
Apart from them, Dr. Luke and his new bandmates have created a pop scene that has no heart or personality at all.
“143” sounds like an AI bot was asked to make a Katy Perry album. These songs are incredibly repetitive, destined to be nostalgic and sit somewhere between classic and imitation.
“Gimme Gimme,” the second single featuring 21 Savage, immediately calls to mind Justin Bieber’s plinky snoozefest “Changes,” especially the Quavo duet “Intentions.”
Perry’s next song, “Gorgeous,” sounds somewhat similar, though it swaps out the rap section for a more conventional song, courtesy of former student Dr. Luke Kim Petras.
“Crush” is a classic song by Kylie Minogue. “Artificial,” another collaboration with JID, tries to combine the cyber-sultriness of “Dark Horse” and succeeds greatly – except it’s 2024, not 2013, so it’s not interesting anymore.
For an artist like Perry, who made the mother and “divine” power the cornerstone of his name, it is difficult to give a reason to return to Dr. Luke under any circumstances – but especially if it was to do something thoughtless.
Flat synths and unknown vocals dominate the “143” scene. Perry has never been considered a lyricist, but his signature humor, once warm, wet and wild, has melted like a popsicle. We’re left with slop like, “Kitty, kitty, you wanna come to the party tonight / Trippy, trippy, daddy, take me,” and “Yeah, I got palpitations / Those boom-boom-booms .”
“I want to know the truth, even if it hurts,” Perry sings over and over on the first single, “Truth,” no less than eight times.
Well, if that’s what he wants, I’m happy to let him.
Final score: 1.8/10
Katy Perry’s new album “143” has 11 classic songs. Capitol Records
It is important to listen: N/A
Background music: “He’s His, He’s Mine,” “All Life,” “All Love,” “Nirvana”
Click skip: “Woman’s World,” “Gimme Gimme (feat. 21 Savage),” “Beautiful (feat. Kim Petras),” “Crush,” “Artificial (feat. JID),” “The Truth,” ” wonder”
*Final album score based on tracks (1 point for “Worth a listen,” .5 for “Background Music,” 0 for “Click skip”).