Score: 1/5 stars
Katy Perry’s latest album feels 143 steps behind the times.
The pop hitmaker isn’t exactly known for consistent critical acclaim. Her past three albums have all been met with mixed to outright negative reception. With several hits under her belt, these albums signify the loosening of Perry’s grip on the everchanging sound of pop. There is something confusing about her music from the past several years; it’s as if she herself doesn’t know what makes her many hits tick.
It cannot be understated that her sophomore album Teenage Dream is an essential text for early 2010s pop music. While it may have a fair share of derivative deep-cut tracks, the top tracks like “Firework” and “California Girls” are blueprint radio-friendly pop songs.
However, her success strategy is apparently akin to throwing darts with your eyes closed. Sure, it might not require skilled precision to accidentally hit a bullseye, but you’re more likely to repeatedly hit the wall instead.
This hit-or-miss strategy is all too apparent on her latest release 143, a clunky disaster of an album that comes across as a trial-and-error attempt at reclaiming the bygone magic of her past hits.
The biggest weakness throughout the entire album is Perry’s uninteresting lyricism. Songwriting has never been her strong suit; even on hits like “Firework” and “Dark Horse,” she’s always relied on a grasp of hooks and melody to make something stick. Unfortunately, there isn’t anything standing out on 143 for listeners to latch on to, and the verses in between feel impersonal and inauthentic.
On the opening track and lead single “Woman’s World,” Perry confidently spits “sexy, confident, so intelligent, she is heaven sent, so soft, so strong,” over the opening verse with an uncharismatic, monotone delivery. Perry addresses the “on-the-nose” tone of the song and its accompanying music video in an Instagram post, stating “YOU CAN DO ANYTHING! EVEN SATIRE!”
If you have to explain something is satire, it isn’t good satire — simple as that. It’s almost as if she had satire saved as a cop-out in the event that the song’s literal interpretation was poorly received.
Whether Perry’s exaggeratedly dull take on feminism is satire or not is completely soured by the track being produced by Dr. Luke, Perry’s long-time collaborator who engaged in various lawsuits surrounding artist Kesha, accusing him of “sexually, physically, verbally and emotionally” abusing her. All this makes “Woman’s World” a confusing track. Is it trying to satirize the male gaze? Is it trying to be some post-ironic empowerment anthem? Whatever it’s trying to do, it’s not convincing anyone to believe in it.
“Lifetimes” is a run-of-the-mill house track that lacks the warmth and invitation of a summer hit. It’s the brand of tired music that bores you out of the club. The same can be said for several other tracks. “Crush” is a particularly vapid track with lines like, “Is it a crush? Makin’ me blush / Here I go again, I’m falling in love.”
Brief glimpses of hope can be found in “All The Love,” where Perry’s vocals move harmoniously with the driving production. The song has a sticky hook as well with “back to me” repeated in the post chorus, but generally it leads nowhere, further demonstrating 143’s lack of direction.
The album’s features range from a cut above Perry to being dragged down to her level. Kim Petras sounds disinterested on the track “Gorgeous,” her performance following the same shticks she has succumbed to in her own releases. Doechii brings a breath of fresh air on “I’m His, He’s Mine,” as she slides over the beat as the dominating force in the song. It is amusing, however, that only a few tracks after Perry claims “it’s a woman’s world,” she creates a song revolving around attracting the attention of a man. This alone is enough to make 143 feel disjointed from the get-go.
The album leaves you with nothing, Perry’s bravado coming off as a shell of a popstar. The production is seemingly polished, but it speaks to nothing and carries no weight, perhaps best equated to a department store fitting-room soundtrack.
The failure of 143 is a cautionary tale to artists who vehemently reject criticism. When your entire feedback loop exists in the vacuum of fandom, you’re bound to believe every idea sticks. This strategy may work at creating a loyal fanbase, but any hope for expanding your audience gets left at the club doors. 143 makes it clear that Perry will continue to swing her bat blindfolded with the dream of recreating the home-run magic of her early hits, but some teenage dreams are meant to be left behind.
