Cinema VinesWhen Charli XCX dropped the two‑minute glitch‑laden single “Rock Music,” the first track from her upcoming album, the buzz was immediate. Critics and fans alike rushed to label the artist a provocateur, debating whether the song was a tongue‑in‑cheek jab at pop norms or a sincere declaration that the dance floor had died and rock was coming back. The track’s hyper‑pop flair and cheeky lyric, “I think the dance floor is dead/So now we’re making rock music,” only deepened the confusion, leaving listeners to wonder if the entire album would follow the same power‑chord trajectory.
In truth, the new record, titled Music, Fashion, Film, defies easy categorisation. It contains eleven tracks that blend rock, pop, and experimental sounds, each one more genre‑averse than the last. The songs feel like a collective effort from Charli and her co‑producers and writers, A.G. Cook and Finn Keane, who have forged a coherent vision that resembles a band’s collaborative process more than a solo pop project.
Charli’s previous 2024 electro album, BRAT, already pushed the boundaries of pop, and Music, Fashion, Film builds on that legacy. The new record tackles anxieties around fame, creativity, and performance with the same lyrical vulnerability that made BRAT a cultural touchstone. The album’s spoken‑word passages, reminiscent of the Velvet Underground’s moody influence, sit atop fuzzed‑out guitars in tracks like “Card Declined,” while “2007” uses power chords to mock the routine of filming TikToks.
Production choices on the album are as varied as its songwriting. The post‑rock track “Magic Metal Montana” features an unexpected tempo shift, and the catchy, drum‑machine‑led chorus of “SS26” departs from the percussive energy that defined BRAT. In contrast, the looser, reverberating “I’m Afraid” offers a post‑grunge exorcism with a claustrophobic chorus, evoking the spirit of Meredith Brooks’ 1997 hit “B” but with Charli’s own brand of self‑flagellation.
Ultimately, Charli XCX’s new album is a bold statement about reinvention. By blending rock riffs, hyper‑pop sensibilities, and introspective lyricism, she challenges the conventions of mainstream pop while staying true to her artistic identity. Fans and critics alike will need to listen closely to decide whether Music, Fashion, Film is a continuation of her rebellious streak or a fresh chapter in her evolving career.
