Mischievous, provocative, satirical, saucy, sexy, intimate, explicit, shiny, cleverly catchy relationship songs, packed with naughty whip-smart wordplay pop, musical echoes of 80s and Madonna, to Britney Spears and Christina Aguilera, all by the US singer-songwriter, and expertly produced across a range of funky to country styles by Jack Antonoff. It’s a very polished and entertaining affair, filled with “did she just sing that?” moments, as well as ear-pricking instrumental sounds such as that of clavinet, sitar and agogo. Already with her seven album, and still just 26, Carpenter is perkily fun in a mainstream way, slipping in as many controversy sparking elements as possible. Opener Manchild is a sassy, classy putdown to immature and stupid boyfriends (“Did you just say you're finished? Didn't know we started”). Her songs drip with innuendo, but she can mix this up with explicit description, slipping this line on Tears - “Tears run down my thighs”. The slower, saccharine-country-style Sugar Talking gets straight to the point (“Put your loving where your mouth is”). We Almost Broke Up Again Last Night is a swooning, dreamy love song number with a gliding melody, and filled with witty lines (“"Bullshit repeats itself," is that how the saying goes? /Been here a thousand times, selective memory though/ I hear it in his eyes, he sees it in my tone / Is what it is and it's predictable … (“You say we're driftin' apart / I said, "Yeah, I fucking know" / Big deal, we've been here before / And we'll be here tomorrow.”) Nobody’s Son rolls and shimmers like a classic 80s Bucks Fizz number, and Never Getting Laid has a fabulous pop melody as well as be wonderfully bitchy (“I think this schedule could be very nice (Very nice) / Call up the boys and crack a Miller Lite, watch the fight / Us girls are fun, but stressful, am I right? (Am I right?) / And you got a right hand anyway (And only yesterday.”) Go Go Juice trips along with a catchy acoustic country feel, while Don’t Worry I’ll Make You Worry is soft and serene and sound, but hits straight between the eyes in opening lines: “You think that I'm gonna fuck with your head / Well, you're absolutely right / Your perfect timing couldn't be worse /Actually, it's impressive how you don't read signs.” Ouch. Again. With the funky, soaring, innuendo stuffed House Tour (“Do you want the house tour? I could take you to the first, second, third floor / And I promise none of this is a metaphor / I just want you to come inside and Abba-ish closer Goodbye (“But I'll say, "Arrivederci, au revoir" /Forgive my French, but fuck you, ta-ta”) it’s a tasty, feisty feast of sharp, funny, musically polished but also beautiful numbers. Out on Island Records / UMG.
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