Addison Rae: Addison Album Evaluate

After years of deferring to the professionals in periods, Rae met Elvira Anderfjärd and Luka Kloser in early 2024—a pair of younger songwriter/producers signed to MXM Studios, the publishing camp of pop mastermind Max Martin. After writing the hook of “Weight-reduction plan Pepsi” collectively that very same day, the three girls would go on to put in writing nearly all of Addison themselves, whereas Kloser and Anderfjärd are the album’s sole producers. What ties its tracks collectively is much less a style than a sense—sensual and heady, propelled by personal depth, sometimes euphoric and different instances misplaced in itself. It’s music you’ll be able to transfer to, although not precisely “membership,” usually constructed atop the stacked chords of the Korg M1 keyboard, whose organ presets epitomized the sound of ’90s home. The temper is usually wistful regardless of the ripe imagery—sun-kissed pores and skin, foggy home windows, drunk cigarettes and so forth—as if life moved too shortly to relish in actual time.

If Addison has a story throughline, it’s one you’ve heard earlier than, through which a plucky ingénue strikes out for fame and fortune within the wacky world of showbiz. However Rae is at her most pleasant balancing camp and sincerity on starry-eyed numbers through which all of the world’s a stage. “You’ve acquired a entrance row seat, and I/I’ve acquired a style of the glamorous life,” she trills on “Fame is a gun” with only a whiff of desperation, a callback to a different Britney adage. (“There’s solely two sorts of individuals on the planet,” Spears sang knowingly on “Circus.” “Those that entertain and those that observe.”) She opens “Cash is Every thing” with a faux-naive stage whisper: “After I was rising up, Momma all the time instructed me to avoid wasting my cash so I by no means needed to depend on a person to care for me,” purrs the lady who claimed that she dropped her Southern accent as a result of “Marilyn Monroe by no means mentioned ‘y’all.’” “However cash’s not coming with me to heaven—and I’ve plenty of it!” Rae presses on. “So can’t a woman simply have enjoyable?” Cue the beat drop and the refrain, a barely psycho lady choir whose “Lemonade”-esque harmonies sound like they’re being shouted from the sunroof of a rushing automotive.

Later in that tune, Rae traipses to the DJ sales space to request Madonna, then rattles off some shoutouts in a cartoonish yelp: “I wanna roll one with Lana/Get excessive with Gaga/And the lady I was continues to be the lady within me!” She’s made some extent of carrying her inspirations on her sleeve, although Gaga’s affect was stronger on her 2023 EP, AR. As for Lana, there are moments (largely “Summer time Perpetually”) when the Born to Die worship approaches Kirkland Signature territory, with lyrics torn from the inscription pages of a highschool yearbook. Rae’s disposition is usually sunnier than Del Rey’s, minus the abjection that invariably shadows romance. However the place their mindsets meet is a solemn perception that you simply should stay your life as if it have been a murals.

In Rae’s first cowl story earlier this yr, there’s a quote from Charli xcx—her mentor-slash-bestie whose “Von Dutch” remix marked the primary time that Rae got here off as cool—that’s been rattling round my head. “Every thing she does relates again to her artwork,” mentioned Charli of her buddy’s evolution. “Each merchandise of clothes she wears, every thing she says in a crimson carpet interview, every thing she tweets—all of it is part of the world-building.” Initially, I discovered the thought miserable: a teenage lady who’d modified her life performing to a telephone digicam, now optimizing her each transfer for the aesthetic. Then once more, there’s one thing potent in Rae’s winking efficiency—a borderline unhinged devotion to the American promise that an individual’s future is totally of their arms. Why not commerce small-town boredom for gonzo Hollywood glam? Why not conspire in opposition to actuality in favor of romance? In direction of the top of the Frou Frou-esque “Occasions Like These,” Rae hears her personal tune on the radio and wonders aloud: “Let’s see how far I’m going.”