The pop star’s fourth studio album is remarkably apathetic and lacks the charisma needed to leave any kind of worthwhile impression.If there’s one way to start an album cycle off on the wrong foot, it’s with ripoff accusations. The imagery for Camila Cabello’s “rebrand” for her fourth album.
Camila’s vocal performance on the entire album is processed through what sounds to be the exact same vocal chain. It’s a degree of Auto-Tune that is intentionally noticeable, but not to the point where it feels like Cabello is in on its intention like most others who use it as an artistic statement. This aspect ofcauses for intended moments of sincerity to not only fall entirely flat, but makes them genuinely difficult to listen to.
To add insult to injury, consecutive tracks “HOT UPTOWN” and “Uuugly” both feature Drake , a man who has become so thoroughly disgraced over the past couple months that opposing Southern California gangs united to call him a pedophile and dance on his proverbial grave at’s Pop Out concert last week. After being called a culture vulture by several of his contemporaries, it’s only natural that these tracks are Drake’s grand return to his beloved Jamaican accent.
Cabello’s attempts to exhibit sex appeal also fall entirely flat due to a combination of lackluster lyricism and awkward delivery. “Fold for me like origami / Magic and real like Murakami / Red chipped nails, I’m wabi-sabi” are not lyrics I can take seriously with Camila’s vacant falsetto and a beat drowned so heavily in a high-pass filter that it’s nearly inaudible. “Chanel No.
Closer “June Gloom” is the final nail in the coffin. The down-tempo tune about a tryst with ex Shawn Mendes is an uncomfortable last-ditch effort to grab the listener’s attention through some mixture of shock value and public intrigue. “Does she get this wet for you, baby? / Talk to you in poems and songs, huh, baby? / Little kiss, make your head go hazy / Is it really love if it’s not this crazy?” she asks, leaving no room for ambiguity or reflection.
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