4/5
Revival
Artist: Selena Gomez
In a world of revamped, grown Disney kids, Selena Gomez is queen. Demi Lovato tries too hard to follow the curve. Miley has crazy vocal chops, but her outlandish public persona is far more interesting than her music - no matter how many half-baked Flaming Lips tracks she makes. Each of the Jonas Brothers have their own thing, especially Nick. Ariana Grande is doing alright, but only Selena has the credit of dumping Bieber and coming out on top musically, artistically, and image-wise. She’s no ex; this is a woman with her own agenda. She’s hinted at greatness with her singles, but she claims it for good with Revival, her incredible new album.
Revival is filled with the kind of atmospheric, moody jams that are not always radio hits - if you want those, Lovato’s new record is full of the. What Gomez lacks in supernova chops she makes up for with a dedication to interesting arrangements. The production is largely minimalistic, as some pop is now in the post-Lorde era. Revival is not Lorde posing, though. “Hands to Myself,” the album’s best track, gets by on little more than some single chords and some handclaps. From the title track opener, a declaration of personal and professional rejuvenation, to the closer, a deceptively great track named “Rise,” Gomez commits to a style that flows consistently and feels authentic.
Only occasionally does the album dip back into the deep well of Disney faux-pop so many of her contemporaries emerged from. “Camouflage,” the album’s weakest, sounds like something show choir kids will be entering solo contests with (and it still manages to be a pretty descent song). All of her Disney comrades may have huge hits, some of them even more than her, but none of them have an identity that feels as genuine. Nope. Not even Miley.
Revival
Artist: Selena Gomez
In a world of revamped, grown Disney kids, Selena Gomez is queen. Demi Lovato tries too hard to follow the curve. Miley has crazy vocal chops, but her outlandish public persona is far more interesting than her music - no matter how many half-baked Flaming Lips tracks she makes. Each of the Jonas Brothers have their own thing, especially Nick. Ariana Grande is doing alright, but only Selena has the credit of dumping Bieber and coming out on top musically, artistically, and image-wise. She’s no ex; this is a woman with her own agenda. She’s hinted at greatness with her singles, but she claims it for good with Revival, her incredible new album.
Revival is filled with the kind of atmospheric, moody jams that are not always radio hits - if you want those, Lovato’s new record is full of the. What Gomez lacks in supernova chops she makes up for with a dedication to interesting arrangements. The production is largely minimalistic, as some pop is now in the post-Lorde era. Revival is not Lorde posing, though. “Hands to Myself,” the album’s best track, gets by on little more than some single chords and some handclaps. From the title track opener, a declaration of personal and professional rejuvenation, to the closer, a deceptively great track named “Rise,” Gomez commits to a style that flows consistently and feels authentic.
Only occasionally does the album dip back into the deep well of Disney faux-pop so many of her contemporaries emerged from. “Camouflage,” the album’s weakest, sounds like something show choir kids will be entering solo contests with (and it still manages to be a pretty descent song). All of her Disney comrades may have huge hits, some of them even more than her, but none of them have an identity that feels as genuine. Nope. Not even Miley.