First off, can I just say how outstanding that album art is? Poppy’s menacing gaze, spike-laden choker and superimposed inky face paint in this monochrome aesthetic wonderfully portray the album’s mood.
I Disagree is a marked departure from the bright and cheery tone of 2017’s Poppy.Computer and completes the metal-heavy transition that 2018’s Am I A Girl began. I would describe the sound of this album as industrial and nu-metal juxtaposed against pop and electronic characteristics. Cockroach music, as a friend described it.
Albeit being an amusing track overall, Concrete moves between genres and emotions but it can seem a bit too much at times due to subpar melding. Anything Like Me’s gritty riffs delight your ears yet it features more pop-oriented and rhythmic bass-filled verses that sound rather similar to Billie Eilish’s bad guy. Many tracks exhibit this romp between soft speaking or singing and extreme “screamo” vocals to keep things fresh. With lyrics revolving around hypocrisy, Grammy nominated BLOODMONEY demonstrates this magnificently. The horrifying and glitchy industrial cacophony in the chorus is immediately silenced then followed by an oddly calming and synth-inspired ambient presentation. “KEEP TELLING YOURSELF THAT YOU’VE BEEN PLAYING NICE AND GO BEG FOR FORGIVENESS FROM JESUS THE CHRIST” So good.
A standout track that highlights on Poppy’s metal prowess is Bite Your Teeth. It’s undoubtedly the most brutal track on the album and one of the most exhilarating listens I’ve had in music. Absolutely visceral. Drawing similarities to 2018’s X, happy-go-lucky, innocent cartoon excerpts are inserted in between some of the most violent metal riffs I’ve ever heard. Its lyrics that reference Alan Watts’ quote, “Trying to define yourself is like trying to bite your own teeth’’ not only thematically fit the album’s message of individuality, but are also inherently ‘meta’ as it expresses the inability to categorise Poppy into any one genre.
Nothing I Need and Sick of the Sun take a more subdued approach by focusing more on Poppy’s singing backed by lethargic and enveloping synths and guitars that are reminiscent of The Neighbourhood’s style. The album’s closing track, Don’t Go Outside, features ambient vocals and clean fingerstyle acoustics in addition to rock elements. With three distinct parts separated by beautiful guitar solos, there is some resemblance to Queen’s Bohemian Rhapsody. Towards the end, Poppy’s sweet vocals layer melodic reprise versions of Concrete, I Disagree and Fill the Crown to create a satisfying thematic ending to the album.
Overall, there are so many facets to the LP’s 10 tracks that keeps things fresh and excellently showcases Poppy’s versatility. With high quality production and mixing from Chris Greatti and Zakk Cervini, it’s a treat to rock out to. I would highly recommend it to any metal, industrial or pop fan.
9.0/10