Dionte Berry
Editor-in-Chief
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In her fifth studio album “CRASH,” Charli XCX takes inspiration from nostalgic pop bangers to work toward perfecting her sound.

Charli XCX, known off stage as Charlotte Aitchison, released “CRASH” on March 18 and followed it with the deluxe version, which includes four additional songs, on March 25.

On “CRASH,” Aitchison strives to elevate her pop sound. On her previous album, “How I’m Feeling Now,” Aitchison embraced hyperpop to describe the suffocating feelings of isolation during the pandemic, as well as the salvation of her romantic relationship.

“How I’m Feeling Now” was well received by critics for its experimentation and personalization, as well as its transparent creation process, which took place in Aitchison’s home during the height of the COVID-19 lockdown.

Unlike “How I’m Feeling Now,” “CRASH” is an album about relationships, breaking up and moving on, but there’s also a focus on loss with Aitchison dedicating “CRASH” to friend and fellow artist SOPHIE who died in early 2021.

“CRASH” has an ’80s and 2000s pop influence that’s not only woven with nostalgia but is also a culmination of all her projects thus far.

“My prior four albums and two mixtapes, those six bodies of work, encapsulates all the different things I think pop music could be,” Aitchison said in an Apple Music interview. “All of those things feel like the little puzzle pieces that I want pop music to be, and on this final album, I feel I have used all of the different puzzle pieces.”

“CRASH” is also the final album Aitchison will be releasing as an artist under Atlantic Records label, with which she has had a complicated relationship. Aitchison also said in her Apple Music interview that “CRASH” was an opportunity for her to utilize popular label music and financial resources.

Starting the 16-track deluxe edition of  “CRASH” is the title track “Crash,” which acts as an album intro, where Aitchison feels as though she is “about to crash.”

The track begins with Aitchison’s layered vocals which fill the background, until the instrumental swells with synths and a guitar bursts through. The lyrics address a sense of self destruction.

Following “Crash” is “New Shapes,” featuring Christine and the Queens and Caroline Polacheck. I love the zooming, bright synths, and Polacheck’s vocals are a clear standout in the song.

“Good Ones” is the lead single and created the tone of what the album would become. It creates a edgy persona for Aitchison, in which she is letting go of someone who is a so-called good guy.

In “Constant Repeat,” Aitchison tells one of her former lovers they made a mistake losing her and that she hopes she plays on repeat in their mind.

“Beg For You” has an early 2000s influence in the chorus, drawing from the song “Cry For You” by September. The song features Rina Sawayama, but the song falls flat in creativity despite both artists having played major roles in recent pop music.

“Move Me” is a ballad that describes the positive and negative impacts of a lover in Aitchison’s life.

“Baby” starts with a violin introduction which turns into a clicky-clackity beat with bass in the background. Overall, it seems like Aitchison wants to dominate a possible lover, almost like she is the devil on their shoulder, guiding them to indulge in their bad impulses.

“Lightning” is a stand out ’80s reminiscent track. I enjoy how she uses a vocoder against silence that goes into a beat-drop moment with a lightning strike in the background.

“Every Rule” is a ballad, but it feels a little too slow and lacks style. However, the lyrics are insightful, and I wish the instrumentals matched them. The chorus also falls flat and does not seem to have the same meaning as the rest of the song.

“Yuck” is a smooth breakup song with an amazing slithering synth throughout it. Aitchison highlights how another’s gestures of love and flirtation can feel overwhelming.

“Used to Know Me” samples the instrumental from “Show Me Love” by Robin S., but Aitchison remakes it in a way that feels inspired by 2000s pop.

“Twice” starts with a calm, bright percussion and focuses on living in the moment and not dwelling  or overthinking about the small things.

“Selfish Girl,” “How Can I Not Know What I Need Right Now,” “Sorry if I Hurt You” and “What You Think About Me” are a part of “CRASH (Deluxe).”

The four extra tracks are more reminiscent of the bright avant-pop of Aitchison’s past projects, such as her mixtape “Pop 2.”

“CRASH” is an album into which Aitchison channels her own personal experiences of love and loss, but she leaves it open for listeners to identify with the music and apply it to their own lives.

Is “CRASH” groundbreaking compared to her most recent projects? No. But for music to be good, it does not have to be nuanced or totally innovative, and Aitchison knows this.

Despite the mainstream sound, “CRASH” has solid and cohesive production.

“CRASH” is more than just an album. It is a glimpse into how Aitchison feels about her role in the music industry. In her promotion of “CRASH,” Aitchison would make cryptic and satirical posts about what the music industry does to pop stars, such as selling their souls in order to succeed.

On “CRASH,” Aitchison embodies the mainstream pop route her label wanted her to take, but her dubious album promotion pulls the curtain back on the industry and allows the album to function as her vindication

During the Zane Lowe interview, Lowe said Aitchison has changed the shape of music, and I agree with him. “CRASH” may have a radio essence to it, but Aitchison’s purpose with the album makes it an efficient and strong piece of work. For that I give “CRASH” a seven out of 10.

After being in the music scene for nearly a decade and concluding her record label deal, I am excited to see what Aitchison has in store for the music world.

For a rundown of each song go to TheNews.org for the full article.