A.S. King – Please Ignore Vera Dietz

 

verdietz__spanJust a while ago, I read a Young Adult novel that seems to be the positive mirror of this. It was Jennifer Brown’s Hate List. Both novels deal with a tragedy, specifically a girl losing a boy to death and how it affects their lives. The relationship was big. Both happen to be outcasts in a Nowheresville. Relationships with the family is rocky and there is a sexually-active, supposedly hot chick that’s evil involved.

The difference is in how Hate List is darker, but more sympathetic whereas King’s book has more shocking content on the surface but less of the empathy which is truly disturbing. Therefore, at the bottom there isn’t much horror or insight. King lays out at the beginning who are the good guys and who are the bad. Nowhere in the novel do they get a chance to prove otherwise and we don’t get any view of their inner world. Dad figure swings from bad to good, and it’s actually nice to see a parental figure being allowed to be flawed but not a complete asshole. Sadly, this is where the good characterization ends.

I’m all for novels like this. Teenagers need books like these which deal with drugs, sex and death. They experience these things at this age and sometimes what they need isn’t the perspective of an adult, but a lot of perspectives similar to theirs. Books like this mention the important subject, but they offer such a narrow perspective. Perhaps for those for whom death and alcoholism ring close, this book can be some kind of an emotional outlet. For the rest of us, though, it’s too close-minded.

My issue is not with the content and not even that it’s quite wacky, moving away from the gritty-realism authors like this try to imitate. I can take the octagonal treehouse and teenagers burning shit down. I can even take the enigmatic, hot outcast male. Where’s the life in them, though?

Charlie isn’t as bad as Green’s females, but we still get a character with zero personal issues that we’re supposed to adore. He’s a dream boy – wild, untamed, skinny, always doing things, putting a tough exterior but is actually romantic and with some emotional issues. Of course, the romantic side and the emotional baggage is never let out – because men with emotions aren’t sexy. For some reason, too, love interests in these novels are always skinny and this is passed off as if it’s against the beauty ideal.

Eventually he goes to the dark side to be with ‘cool people’. King’s version of the Evil Cool isn’t jocks and football junkies for a change, but a bunch of druggies and a rocker girl. As for her, she happens to have a lot of sex and is nasty to people. Why she’s nasty to people, we never understand. Her sexual nature is also often painted hostile and morally low, but I’m not sure why besides the fact it’s ‘conformist’ – unlike Charlie who is really cool and builds treehouses.

She’s so nasty that she ruins everyone’s lives. I’m sure there are people like this, but if only King gave us a little insight into why she does what she does. Jenny ends up being nothing more than a plot device and someone we could hate. Besides breaking up between the main character and her lover, she has no role.

Many characters in this novel fit a scary template in fiction – characters whose main purpose is that we’ll have something to hate. Such characters contain some qualities that nearly everyone will claim as bad – cruelty, sadism, lack of empathy. On top of that the authors will put something else to make them uncool, like being stupid or doing too many drugs or being too conserative, or maybe just racist. We’ll be expected to really detest this character and hope for their downfall.

The problem is, we often feel this way in real life towards people because it’s all we’ve been exposed to. Sometimes hating people is justified, but what’s wrong is hating them while denying their humanity. Once we draw a too distinct line between us and the evil, we override the purpose of morality. Morality then is not decided by deeds or virtues, but by people. ‘A is just because of X’ becomes ‘A is just because B is unjust’. That type of morality leaves no room for redemption, and so no room for admitting when we’re wrong (since we can’t be – the other side must be wrong!). Once we adopt such a morality, nothing prevents us from becoming what we hate.

Sadly this is what King has to offer us. Jenny and the others remain an enigma – assholes without character. If only King would’ve developed further, maybe she could’ve conjured something more horrifying, more haunting. Evil is at its scariest when we realize we can do it, too. That’s why pictures of serial killers are so frightening. We look at them and see flesh and blood just like us.

Plot doesn’t matter much in novels like these since the psychological development of the character is important. King is better than Brown in creating a main character. The writing is utilitarian and doesn’t add much, but there’s a toughness to the writing, an edge that lets Vera be more than an outcast. She’s a tough person who bottles it all until it comes back out. While King is not the peak of minimalism, she lets just enough edge to let this psyche be expressed in the prose.

It would’ve been better if she didn’t need a big event for the story to revolve on. Considering how Vera has enough depth to carry a story on her own – not much, but just enough – big explosions were unnecessary. All we needed was to see these characters go about their lives, how their worldviews and personalities – Vera’s detachment, will to be responsible and for escapism and Charlie’s adventurous spirit – collide, stray, collide again and eventually fall apart. She does it quite successfully throughout the novel. The relationship is convincing enough with how the characters relate and then go separate ways when puberty hits.

Scattered throughout the novels are other perspectives – the pagoda, the father. King doesn’t have the writing ability to give these a new tone. Don’t look at the heading and you’ll find the father and the daughter are speaking in the same internal voice. Still, it’s a refreshing addition that almost gets close to adding empathy to this story. Sadly, these are tidbits, not a choice of method that re-frames the whole novel. Most likely a young author will be inspired by this but will accidentally credit As I Lay Dying.

It’s quick and to the point, but mostly it’s an insulting collection of stereotypes. We all could use books, like music, that offer us catharsis but this is not a song that will carry on to future years. It’s more like your first local show, where the mere presence of sound and emotion is enough to inspire you to keep digging. You won’t remember precise details about that band, and the same goes for this book.

1.5 rocker girls out of 5

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Aku no Hana (The Flowers of Evil)

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There is no reason for anyone to love the way they’ve been raised in suburbia. It may not be dangerous, but that is not enough to make living there worthwhile. Suburbia is a world without values, where nothing is allowed to be good and worth devoting to. Some things are considered bad and off-limits – like drugs. Anything else though is ‘just a hobby’. No wonder this safe lifestyle doesn’t stop people from killing themselves – why live such a life, anyway?

No wonder, then, that suburbia has its share of ‘rebels’ who take symbols that seem to contradict suburbia. Then again, any person who finds something valueable is rebelling against suburbia – that’s why both the happy-go-lucky raver and the skull-laden metalhead are considered rebels of this landscape. Even the truly religious and the intellectual can be rebels in this world. Such passionate people will challenge the status quo since they will value something other than the suburban lifestyle.

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Notice the problem, though. Notice what’s the requirements for a true rebellion against suburbia – having values. Aku no Hana is the pseudo-rebel, the person who hates suburbia so much with all its emptiness yet cannot find anything of value to replace it with. It wrecks destruction, says naughty words and perhaps will pay lip-service to sexuality but in the end it has nothing to say. In the end, it is too weak to admit it’s exactly like the suburbia it hates and this lack of self-awareness is its destruction.

The anime fails in the same way the main character, Nakamura, fails. Nakamura hates the boring life she leads. I hate that way of life, too. Yet just because she claims she’s going ‘beyond the hill’, that she will tear down Kasuga’s walls to find something there doesn’t mean she actually will. It doesn’t mean her actions are directed at this venture. Actually, her actions are more like that of a sexual abuser rather than a tough life couch.

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Imagine if a man stripped a female of clothing, forced her to wear something and said this will somehow psychologically heal her and make her stronger, bring out the ‘real her’ or something equally fancy. Few of us would take it seriously. The moment the man will use force is the moment we will find him villainous, no matter how many rebellious slogans come out of his mouth. So why is it okay when a female does it?

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It’s an anime so engrossed in being different, so immersed in wanting to be unique that it doesn’t even try. It goes beyond the art style, which is ugly but not too hard to get used to. The backgrounds are fantastic. They go beyond the emptiness of suburbia, giving everything a rusty look of falling down and crumbling. We see something else besides boredom, that suburbia equals malaise and its lack of values is actually that depressing. As for the character design, it’s merely failed realism. None of them actually look like real people but more like distorted photographs. For a while it’s amusing, but not too much.

At first it starts off interesting with a view into the darkness and weirdness of random people. Quickly, though, it is obvious we’re supposed to side with Nakamura, view her as a tragic person lost in a world of dull people who just cannot realize how special she is. Too bad the creators missed that if anyone actually paid attention to her, they’d realize she should be in jail. No one cares how special you are when you abuse people. Look what happened to Watkins.

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True horror is realizing that something that’s horrible is also real, and perhaps more common than we think. Don’t be a pig and act like your mud is special. Show the viewers that what they consider deviant is actually normal. Horrify them with that. Instead, we see a small act of stupidity and teenage horniness being shoved in our faces like the creators just discovered the true darkness that lays at humanity’s heart.

If only they had enough empathy to realize that the true horror is realizing that all our rebelliousness is worth nothing if we’re cruel, that we’re excellent at swallowing our own Kool-Aid as we hide from how we hurt others. From the middle onwards, the series becomes nothing but a carnival of vomit. We see people being mean to each other, some preaching about the nastiness of suburbia and pushing someone to do things they don’t want because you and your rebellious self know what’s best for them. Hating suburbia is a good thing, but it’s the first step. This anime barely takes in, and merely wallows in the pre-packaged cliches of rebellion – like anti-capitalism music that you need to pay to hear.

1.5/5

Halsey – Badlands

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We seem to live in the comedown from Nicki Minaj and Lady Gaga. A few years ago, a lot of women got on TV with weird outfits and bragged about how much sex they have and how much they drink. The parties didn’t have to look fun. Mostly, it looked like a bunch of cool people trying hard to impress you. What’s important is that you’ll find them profound, strong, going against the norm. As we know, nothing is more rebellious than drinking alcohol and having sex.

Only your mom is actually against partying, and even that population of anti-partying moms is dwindling. Pretty soon a new type of female Pop rose, one that was still about lots of sex and partying but acknowledged the fact that made your Mom despise those parties. Where there are people, there are feelings and getting hurt. People sometimes get hurt before, during or after the party. Sex is fine and all, but it’s not as easy doing vocal acrobatics and calling it a song.

Halsey is a latecomer to this scene, and it shows. Lana Del Rey may have kicked it off, but singers who came later didn’t stick to the formula. For all of the ‘alt girl’ posing on Tumblr, these singers did show there was room for personal expression in Pop music. Compared to what came before, these singers gave a voice to all the kinds of experiences you go through when young.

Halsey may be considered ‘generic’ in that movement, but it’s a movement that’s defined by not sticking only to bragging about sex. In fact, her personality is actually more solid than it first seems. If she seems like a stereotype of the dyed hair, feminist teenager that’s on Tumblr posting better content than you it’s only because she throws herself fully at it.

True enough, we need it. I’m not one to complain about how there aren’t enough Black people in a certain field, or how there are too many males in a different one (As we know, all males are exactly the same). There is something different about these lyrics of youth though, something that’s far from the rage and angst of the male-dominated rock genre.

Instead of tales of hatred, rage, and heartbreak we get tales of confused and confusing sexuality, of drugs that are fun and wrecking at the same. Overall, life is a huge set of contradictions. Now that’s emotional depth for you. In contrast to bands where sex was always a bad thing, where romance lead directly to agony here it’s unclear and blurry. “Strange Love” is about a relationship so messy we don’t even bother to define it. On “Hurricane” she manages to overcome the guy all the girls can’t overcome. All that confidence is gone on “Drive”, a contemplative, atmospheric song that’s soaked in the amorphous and somewhat profound thoughts of an over-intelligent youth.

I know it’s fun to assume young people are idiots – that’s why we got such a moronic educational system. They experience things, though. The best music of youth captures this spark and more. Halsey is at once a young girl who lets herself get carried away by her sexuality, is totally in control of it, utterly confused by it and has the wisdom of a sage – sometimes in the same song. “Hurricane” isn’t the best song here, but it’s the best example of when it all collides at once.

Can these lyrics be anything less than ridiculous? Actually, they’re quite excellent. They aren’t a bunch of vague lines about sex and pain strung together, but there’s a coherent idea connecting them each. The distinct subject matter is what helps the songs stand out. True, “New Americana” is awful, but that’s because it’s the only song where Halsey pretends to be important. Name-dropping Nirvana and Biggie especially sounds stupid. Isn’t she younger than me? Did she feel comfortable listening to “One More Chance”? Statement-making was far more convincing in “Castle”, a slow-grinding song where Halsey sounds like an overconfident youth with all the good that it implies.

She’s actually at her best when she throws herself at an idea. The more contemplative songs, where she sounds too grown for her age can blur together – “Hurricane” and “Roman Holiday” are cute, but “Gasoline” contains lyrics that in any other context would stupid. “Are you deranged like me?” is as attention-wanting as it gets, but it nails the feeling of being misunderstood with others on the internet. “Colors” is the big highlight about loving a guy who’s on the road to self-destruction. The lyrics may be sappy, but being young is about being sappy. If you got the bonus tracks then “Control” is another highlight. I have no idea how it didn’t end up on the album.

People talked about how Halsey is constructed, artificial and is ‘not real’. Is Lady Gaga real? Sure, she flaunted how her imagery was fake but we were supposed to take seriously the idea she’s not real – or whatever postmodern hullabaloo went over there. Music is performance, and what matters is how the performance goes. Halsey is dead-on in what she’s trying to achieve. I met the type of girls who are into this music and heard their stories. Halsey’s lyrics match their stories, if not in precise details but in vibe. In the end music is more about capturing a certain essence of feeling or of experience, rather than the exact details. While it’s true Halsey doesn’t have too many quotables – her peers are much better than her, as a whole her lyrics are fantastic. Few songs get what loving a dangerous and self-destructive guy is like “Colors”.

Badlands is overall a fantastic Pop albm with everything you’d want – great hooks, great production and enough personality to make it memorable. That personality can annoy people, especially if you’re too busy with authenticity or getting angry over weirdos on Tumblr. It’s also possible you’re too busy looking for things to make fun of rathe than experiencing the world. Irony culture has yet to produce something as fun as “Colors”.

3.5 sexy boys out of 5

 

Joking About Ariana Grande’s Terror Attack: A Few Scattered Thoughts

Irony culture is polluting the internet. Everywhere you go you see its tentacles, taking every good thing and getting ironic over it. As if saying something ironically is automatically a joke. Anyone remember those eyes when everyone was sarcastic all the time, as if that meant they were ‘tough’ or you were stupid for not reading between the lines? The internet’s irony culture of ‘shitposting’ is its heir. Like any major event, the terror attack on Ariana Grande’s concert became a canvas for these people to launch their jokes from. Actually, events like these – horrible, traumatic, death-filled – tend to be their favorite events.

Now, gallows humor is fine and all. Humor is important. It helps us keep a distance from things and break the ring of sacredness. If we can laugh at something, it’s not holy and we can criticize it and improve on it. Nothing should be beyond humor, but nothing is also beyond criticism. So now I’m about to explain why all these jokes about the terror attack are bad. Some people from the Irony Culture will call me ‘oversensitive’. I will call them ‘oversensitive’ for not being able to present a claim of their own.

I don’t know how to make this any clearer. A terror attack is traumatic. Many people will never be the same after this. It changed their lives forever. The songs and the artist will forever be connected in their heads to an attack whose purpose is to install fear and dread in them. 22 people have died, and that means at least 88 – and I’m being extremely minimal here – will live with a permanent loss nothing can replace.

Just to show you how trauma works, I live in Israel. Many here live under constant thread of rockets and are always afraid of the sound of the alarm. Some time ago there was a Post-Apoc LARP (Live-Action Roleplaying) called Sunburn. The organizers didn’t tell the players that there will be alarms. Not only the fictional alarms triggered these people, many also thought they were real. It wrecked their whole experience.

If you still don’t get what ‘trauma’ means, just ask someone to violently beat you up.

As I said, humor about anything is fine. However, we need to be careful when and where we post our gallows humor. Right now, when we’re still suffering from the fallout of that attack is not the time. That attack is fresh in people’s minds. They still need to truly realize that, yes, this happened and they are mortal and someone can blow them.

The internet is an unregulated mass communication tool that must not be censored, but that’s not a reason to spread it all over. We control the content we see only halfway. If I enter a meme site with hoping to manage my stress thanks to surviving a terror attack and I see memes about a terror attack and all the trauma rises up – who’s to blame? Why must it be this way?

Some did get that perhaps it’s nicer to wait a bit before making fun of other people’s trauma, so even that became a joke:

Another important element of gallows humor is that you need a joke. Without saying something actually funny about the subject, all you do is make fun of dark topics which cause pain and suffering to everyone – including you. There is no joke in this picture, unless the joke is about how memesters don’t have anything else to do but produce worthless memes. Then again, I think they’re too sensitive to actually joke about themselves.

I don’t know. I get it that you don’t like Pop music. Some of us are still stuck in the days of ‘real music’ where only Foo Fighters were considered good. Still, where’s the joke here? You found a pseudo-clever way of telling people you dislike Ariana Grande by making fun of a terrible event. I’m not sure how else to classify this behavior other than being an asshole and inconsiderate.

Oh man, I can’t help it. This is Dr. Strangelove-level of funny. Get it? The joke is, Grande is a horrible singer (Pop music isn’t real music, remember) and people dying – especially in terror attacks – is funny! Death is so funny, in fact, that we make sure everyone can experience it if they want to using assisted suicide! Aren’t funerals only second to the Holocaust in their funny-ness?

It’s kind of odd. Someone would actively take an image and write a semi-ironic text about how someone not dying is a bad thing. I’m trying to understand the psyche of doing this, of finding the bummer over someone not-dying a sentiment worth showing the world. Better yet, contextualize it in a meme so you could laugh about it and be ironic. There are so many layers of irony here I’m not sure what the joke is. Yes, some memes’ source of funny is only because they reference a pattern. Lord knows I find the ‘cracking open a cold one’ meme hilarious, but that’s only because I really like beer. Besides, the joke is rarely something cruel. Since there is no funny here, what is the joke?

“Oh, lighten up!” they say and I wish I could – or I wish I wouldn’t, since my ways of having include more than finding terror attacks funny. Every act of communication has a purpose. The nature of being is communicative. We communicate humor, emotions and ideas. By understanding what and why we communicate we can communicate better and face the communication of others better.

So I’m trying to get underneath all this humor. Since its surface is incredibly unfunny, maybe by getting down to it I can find insight into an alien culture. Sadly I face an empty well devoid of funny and full of laughter at the theatre of tragedy and the carnival of carnage that is terror and violence. If terror and violence were that funny, they wouldn’t be staples in horror films. Moreover, if you didn’t view this post as an attack – and this post claims you’re insensitive, unethical and that your sense of humor is dead like Nietzsche’s horse – you wouldn’t get all defensive over it.

The funeral of the irony culture will be a celebration. Bring your own stereo.

(hed) pe – Blackout

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I was no naive at the time. I wanted desperately to like this. The album cover was beautiful. The word ‘blackout’ is pretty cool. The band’s name was badass and made no sense. Best of all, there were supposed to be one of the more Hip-Hop orientated Nu Metal. My previous experience with them was with Only in Amerika, which was good if you ignore how it treated women like the Japanese treated their specimen in Unit 731.

Something about this record felt off, though. Sure, the opening song was great and bizarre with its melodic-yet-aggressive vocals. Everything else lacked the punch, that Nu Metal chutzpah that (hed) pe did better than anyone else. After following them further into their career, the position of this album became clearer. It also explained why Only in Amerika was such a hateful record towards women.

This was their normal record. Apparently, the label pushed them to make this. Making a more radio-friendly record means less profanity, less lyrics about partying and more straight-up rock about the general gloom of life. The fact the record still sounds at home in the Nu Metal speaks volumes about the band’s talent. The label couldn’t crush the party. Even while playing straight, the band is weirder than their peers.

The key to this is the band’s natural talent. On previous albums, it could be said the genre pushed them to great moments. Here, they’re dealing with a duller sound that only talent can lift up. Check that ominous riff in “Dangerous”, that jerky guitar line in “Bury Me” or the frantic bassline in “Flesh and Bone”. Whenever a Nu Metal band normalized their sound, they had no such moments. They kicked ordinary riffs. (hed) pe can still finds unique sounds even when making generic gloom rock.

Jahred’s vocals are, of course, an integral part of the charm. His vocals are just as versatile as last time. He raps a little less, but he still jumps freely from style to style. It sometimes even sounds like there are two vocalists in the band. On “Suck It Up”, his singing voice goes ridiculously low. I talk a lot about the balance between melody and aggression which Nu Metal bands are great at capturing. That song is another perfect example of how it works.

He does sound defanged. The title-track should be an anthem against conformity, about trying to fit in. Jahred doesn’t have the same bravado and conviction that made “Crazy Legs” so thrilling. He just sings. His voice is pretty, but is that what people call ‘inauthentic’? In the previous records, his personality dominated. Here, he’s just an extremely talented vocalist. The only time he sounds like the old times is in “Crazy Life”. That’s no coincidence, since it’s the one song that relies more on rapping and some hedonistic lyrics.

At least he has a beautiful singing voice. On the acoustic, Everlast-esque “Other Side” his voice is so pretty it doesn’t really matter that it must be insincere. If we learned anything from the Lostprophets fiasco is that music’s an act. Jahred’s act may not be the most convincing, but his natural charisma lifts up the already excellent melodies. No one else should perform “Revelations” or “Get Away”. Then again, who really cares about authenticity in Nu Metal? It’s a genre about partying and vague complains about life. Blackout may more serious than their previous album, but the title-track is still a banger.

There’s actually a good side to removing the band’s personality. In later records Jahred came off like a misogynistic rapist. How he didn’t get involved a sex scandal is a mystery to me. In fact, I’m sure he did his sure of sex crimes that just weren’t reported yet. Blackout is unique in the band’s discography. It has all the band’s main talents – the crushing riffs, odd sounds, genre-hopping, versatile vocals – without the obnoxious “Women are evil and I love sex” lyrics. It’s the one (hed) pe album I can listen to without squirming.

Despite defanging and normalizing the sound, the natural talent of this band lead to a strong set of songs. It may lack their unique personality, but then again their personality sometimes got in the way. Everything you need in a Nu Metal record – hooks, loudness, variety are here. Not every record can be as brilliant as (hed) pe’s self-titled, but each of these 13 songs should be on a playlist for a rock party.

3.5 crazy lives out of 5

Carly Rae Jepsen – Kiss

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Sometimes I wonder if my dislike for a lot of Pop singers is because of misogyny. Nowadays female singers aren’t docile like they used be. They’re aggressive, can rap, can have a guitar here and there and not shamed of having a lot of sex or of telling someone to fuck off. My manhood is threatened, and thus I cannot enjoy when Lady GaGa tells me about how everything is beautiful and that we should all just be ourselves (That’s because we all have the privilege of being skinny, right?). I can’t stand Rihanna because a sexually assertive woman offends me. Submission is a turn-on, and without it I’m nothing.

Or maybe not. My favorite Pop singers include Lana Del Rey, Tove Lo and Melanie Martinez which are all concept-heavy. As for aggression, I also admire Emilie Autumn who directly attacked her sexual abusers. The problem with the singers in the first paragraph isn’t that they were ‘assertive’. In fact, no one should be scared of Rihanna. She’s so conformist that Chris Brown beating here wasn’t the big deal. The problem with these singers is that they didn’t sell you an image or a concept, but themselves.

Compare Taylor Swift’s “22” – which I actually like – to any song here. Taylor uses the song as a vehicle to inform the listener who utterly cool and fucking awesome she is. It’s about her, not about having fun. She has a lot of exes, she has breakfasts at midnight unlike these lame ‘cool kids’ and they dream instead of sleep. The songs’ music videos even confirm it. In “Good Time”, Carly and Adam Young are surrounded by people who actually look different and don’t seem to be doing anything but having fun. Everyone in Taylor’s video looks perfect and skinny. It’s a song about contrasts, not about partying.

When everyone got taken away by EMOTION – and by ‘everyone’ I mean ‘music nerds’ – the shock was hearing a Pop singer who really didn’t care about seeming cool. She did way before “I Really Like You”. From a distance, this and “Call Me Maybe” sound like an artist with one gimmick that milks it. Listen to a whole album, and it’s a modus operandi. If Carly can’t deviate, it’s because she’s having too much fun, doesn’t need and want to and invites you to join in.

Adam Young asides, who everyone seems to hate, “Good Time” is such an inviting song. “Call Me Maybe” may have generated the shitty parodies but that song tells you more about who Carly is. Most of the songs here work in the same sphere only with slightly weaker drums. All the songs are about the excitement of first love and first crush, about a possible future that may happen and if it does it’ll be awesome. It’s not exactly optimistic. Rather, Carly captures that tiny moment of happiness when you’re sure someone really likes you or may like you, and you’re kind of emberassed and unsure but enjoy it all the same. Song titles like “This Kiss”, “Curiosity”, “Tiny Little Bows” and “Call Me Maybe” all display this range of emotions. Merge these topics with dance tracks and you have great party music that’s happy, not tough. People who don’t jump to “Tiny Little Bows” look like they’re trying too hard to reach the Idea of Coolness.

Carly’s performance is also perfect. Another problem of contemporary Pop singers is how much they love show us their voice. Often, the songs aren’t meant to be enjoyed. Even the performance isn’t meant to be enjoyed. Rather, we’re supposed to be impressed, stand aside and admire all the vocal acrobatics. Adele epitomizes it and Sia is the biggest offender. Imagine if Sia sang these songs. Will “Turn Me Up” sound so cute and confused if Sia howled? Would it even be about confusion, instead of about how awesome Sia is? Carly sings so low and calm. She rarely stretches her voice, trusting instead her character shine through her voice. It also makes the song more listener-friendly, making it sound like anyone can sing them.

At times she does stretch her voice for something more profound, but it’s so rare it leads to a weird effect. On “More Than a Memory”, she stretches her voice just a little to suit the song’s more somber mood, and it makes her seem vulnerable and worried. Since she doesn’t stretch it often, she shows us that this moment is more important than others – the relationship might die! She also loses the tune a bit on “Guitar String/Wedding Ring”, and the result is ridiculously cute. The song’s lyrics are a bit nonsense, but they, along with the sparkling, noisy production and Carly’s messy voice expresses the excitement and thrill of love all the more effectively. Music is, after all, acting. I’m sure many can sing that song better technically, but I doubt if anyone can convince me like Carly does.

Only one song does stick out where she sounds closer to her contemporaries. That’s “Tonight I’m Getting Over You” which includes an actual bass drop. The noises this time are aggressive instead of sparkling and Carly tries to reach to the top of her voice. It’s also a total success because it focuses on this idea, instead of using these tools as a modus operandi. It’s not another generic club banger but a singer who’s full of pain and needs to let it with singing and loud beats. What’s beautiful is that once the chorus hits, she still sounds vulnerable and hurt. The cries of “getting over you!” aren’t triumphant, but sound like she’s trying to convince herself by constantly repeating it. Many said that “Chandelier” by Sia mixed the whole party-and-depression thing well, but that song, like anything else by her, is about how Sia awesome is. Carly outdid everyone else.

It’s interesting how clean this album is. In a world where singers like Rihanna use misogyny and objectification of women to seem powerful – because being approved by wifebeaters like Chris Brown means you’re strong? – it’s refreshing to hear someone who doesn’t need to go on and on about it. Carly is sexy in her way. She’s not afraid of it, she’s just more concerned with love and having fun. “Good Time” works because, unlike other party songs it’s for everyone – not just people who happen to be sexy. Her excitement in “Tiny Little Bows” is way sexier than anything by Rihanna. Carly was actually older than most singers when she recorded this and many called this ‘immature for her age’, but is it really?

Today Kiss sounds more like a prelude to the brilliant EMOTION, and it’s not as all-encompassing as that albums. Still, what it does it does brilliantly. “Call Me Maybe” is actually buried in a sea of highlight, and there’s a consistent mood that shows Carly always believed that Pop is an album genre. Even the acoustic ballad “Beautiful” doesn’t let down the pace. 12 joyous Pop songs about excitement and love that invites everyone are too much to become viral in this age of irony, but really, if you dislike this you may be trying too hard to seem tough.

3.5 kisses out of 5