Leaderboard

"this album is dedicated to sophie" omg 😭😭

Apple's music track-by-track guide of CRASH by Charli XCX: “Crash” “Until maybe a week before I made this song, the album was going to be called Sorry If I Hurt You. But one day, I was driving in my car and CRASH just came to me, and I called A. G. Cook. Even though he wasn't a huge part of this record, he's still very much my creative confidant. He agreed it made sense with the constant car references in my work—and I like the onomatopoeia, I like how it references [2014 single] ‘Boom Clap’ and I like how it feels much more punchy and in-your-face than how i’m feeling now. I felt that the title needed a song, so A. G. and I got in the studio pretty quickly and knew we needed to make it sound extremely ’80s—if you could bottle the album into one song, this is it. We—plus the song’s co-producer George Daniel—had been sending a lot of new jack swing beats back and forth, and I knew I wanted this guitar solo, and to add these crazy Janet-esque stabs.” “New Shapes” (feat. Caroline Polachek & Christine and the Queens “Caroline, Christine and I had worked together many times in different forms, and it was time for the three of us to come together. And actually, this song was recorded a long time ago—pre-pandemic. I like how it's an anti-hero song. We’re saying to the love figure, ‘I haven't got what you need from me, because I am not typical. I don't operate in the way that you want me to. I want multiple partners. I want somebody else. I want no convention within sex and love.’ And I like that as a statement right after the sound of a car crash in the previous song. To do that song with them—two artists who I really feel have such a unique, defiant and topsy-turvy vision of what pop music is—felt really classic and right for us. There’s a true connection between us now, in music and in our personal lives.” “Good Ones “I think this song deserved to be bigger, but I will always think that of my work. But I do think it established the Cliffs Notes version of what the record is—it's got a darkness to it, and it's very pop. I like how drastic the jump was between coming out of how i’m feeling now into this, both sonically and in how they were made. how i’m feeling now was obviously my quarantine album made in my living room over five weeks by me and two trusted collaborators. This song is produced by Oscar Holter—an extremely active part of the Max Martin camp—and not really written hugely by myself but by two amazing topliners, Caroline Ailin and Noonie Bao. So it’s the absolute polar opposite.” “Constant Repeat “This song features an imaginary scenario I created in my head, where I fell for somebody but imagined that they didn't want me—which turned out to not be the case. But it was this fear that I had, and my prediction of the situation. I think it's interesting that you can convince yourself of that. When you are falling for someone, unfortunately, I think human nature just crushes in on you and tells you you're not good enough, and fills you with doubt and dread and fear and all of those things. This song really poured out of me quite late in the album process, and it just felt so real and natural.” “Beg for You” (feat. Rina Sawayama) “Rina wanted to do something uptempo together, and give our fans a bit more of a moment. So when this song idea bubbled up, I called her immediately. She rewrote the second verse, and sounded incredible on it. It’s a very perfect-storm moment, because we’re two artists operating within the pop sphere, but always challenging it and doing something a little bit more left. She also has that hardcore, diehard fanbase—there’s a lot of crossover. Whilst maybe some of them were expecting something a little bit more experimental from us, I think, in a way, you can't deny that this actually is the perfect song for us in that we are paying a homage to a gay anthem [‘Cry for You’ by September]. She's queer, I'm a queer ally, we're coming together to really just live our best lives and sing an iconic pop song.” “Move Me” “This song came from a writing camp that I was invited to by [US producer and songwriter] Ian Kirkpatrick. I hadn’t done a very classic camp for a while. Not because I'm anti them—I actually think I thrive quite well in them and enjoy them. I ended up writing this with [US songwriter and producer] Amy Allen. We’re actually polar opposites in terms of our styles, which is why this song ended up being so beautiful—the aggressive parts of the song where I was basically yelling into a mic are very me, then you have the balance of Amy’s gorgeous verses. As we were doing it, everyone kept talking about how it’d be a great song for Halsey. I was like, ‘No, I love Halsey, but this is a great song for me and I’m fucking keeping it.’ People talk about writing-camp songs being fake and constructed in a test tube or whatever. But it’s very real. We write from our reality. That’s why we’re good songwriters.” “Baby” “This was one of the first tracks I made for this album, probably pre-pandemic, and with Justin Raisen—who was a very crucial part of my first album, True Romance [2013]. So it felt really good to be going back and working with him in the same house where we made part of the first album. This was a song that I always felt was so passionate and fiery and sexy. And I think the making of this song helped me feel powerful, and want to explore the sexier side of pop music and my artistry. It’s the song that helped me decide that I wanted to dance for this campaign, because I just couldn't stop wanting to move to it whilst we were making it.” “Lightning” “It began as one of those half demos that I took away and lived with. I then called up Ariel Rechtshaid, who was also a huge part of the first album, alongside Justin Raisen, and said, ‘OK, I have this song. I want to do True Romance in 2022 with it.” And while I know he’s not really on that hype currently, I told him he was the king of the ’80s and if he felt it needed to go down that road, I trusted him because he has the most impeccable taste. So he sent it back to me, and there was a question mark over the Spanish guitar moment, which goes into a chorus. I sent it to A. G. to ask his opinion. He was like, ‘It's insane. I laughed out loud.’ And I was like, ‘OK, great. We're keeping it.’” “Every Rule” “It's the true story of me meeting my previous partner, and both of us being in relationships but knowing that we were meant to be together. I think that that's a story that a lot of my friends have also experienced—and obviously there's a lot of controversy that comes with that circumstance. People are afraid to talk about it. People feel shame. But it's also, it's really real. I think you have to be really brave to admit to yourself that you're not in love with maybe the person that you're with, and that you are in love with someone else. It's cruel on both sides, and I think you can really hear that. It was a song that I really only felt comfortable enough to make with A. G. He would never judge me for saying these things. It’s another pre-pandemic song, and A. G. was living in a place with a studio in his garage. There was a tree outside that was always covered in crickets. You can hear the crickets in the recording, which I think is really sweet and charming. Once we’d lived with the song for about a year, A. G. had the idea of asking Oneohtrix Point Never to add some things to the song, which I loved.” “Yuck” “I like the drastic gear change here. I like that it makes you laugh. I like those jarring moments on albums and in live shows where you're going from the most intimate, quiet song to the most hilarious or poptastic. That was the reasoning behind putting ‘Every Rule’ and ‘Yuck’ back to back. I really struggle with that feeling of being smothered. It's probably an only-child thing, or something. When you're like, ‘Get away from me, give me some fucking space’—that is seriously how I feel 50% of the time. It also reminds me of that gang vocal element of ‘Boom Clap’ and ‘Boys’. Not sonically, but more in terms of the way that I'm singing. I'm definitely not the most technical singer ever—if you put me next to Ariana Grande and made us both sing the same song, I would sound absolutely insane, and she would sound absolutely gorgeous—but when it comes to singing like this, I feel pretty confident. That’s really nice for me, just in a technical way. It's really fun to be like, ‘Yeah. You know what? I can sing this song.’ Which I know sounds stupid because I am a professional ‘singer’.” “Used to Know Me” “I was trying to emulate myself on ‘Fancy’—or get back into that headspace. I really remember searching for the chorus melody to ‘Fancy’ in a way that I hadn't really searched for a melody before. Normally I'm very instinctual and spontaneous when it comes to melodies, but with ‘Fancy’, I had to really manoeuvre my brain around different corners to figure it out—to understand the formation of the notes. I wrote this on my own at Stargate’s studios, which probably made me feel like I had to write a really big pop song, and then when I was listening to it on repeat in my car, I just started singing the synth line to ‘Show Me Love’ by Robin S. So I called a few people and was like, ‘Is this possible?’ And everyone said, ‘Yes, but do you care about publishing?’ And I was like, ‘I guess not.’ It feels to me like a big song—it’s about reshaping who you are after a breakup.” “Twice” “I had reservations about making this the last song because it's such an obvious choice with the key change and outro. And generally speaking, I'm anti the obvious choice. But then George Daniel, who is very good with tracklisting, simply said, ‘You're an idiot if you don't put this song last.’ It’s actually interesting lyrically, because it's about the end of the world and that you shouldn't think twice about intimate moments, or these off-the-cuff moments. Essentially, YOLO, and enjoy delving into these once-in-a-lifetime situations that everybody ends up in. I was picturing the scene from [Lars von Trier’s 2011 film] Melancholia where Kirsten Dunst’s character is sat on a hill waiting for the end of the world. It’s a perfect closer, and I also think it’s a very beautiful song.”

PITCHFORK GAVE IT AN 8…… SLAYYY

I’ve had time to analyze the photograph and there’s so many hidden clues embedded within the image: It says Jack Antonio at the top which means Lanita’s Latina era is among us and the track list appears to be split in half with white space in the center which means it’s a two-part album with approximately 23 songs on side A and 17 songs on side B: This new era’s flowers are tulips whatever these are: Her guitar-drenched synth rock new age gospel boy’s chamber choir magnum condom is upon us given these guitar necks cleverly hidden in the background: Yosemite-esque folk-rock side B will be the dominant theme on the latter half of the record noted by Laura’s edible trees: Lana will yet again premiere at least one new song at the next Apple event as witnessed by these lighting to USB chargers: We’re set to receive her most personal yet ethereal record to date as witnessed by this single waveform generated by her burping into the mic: You’re all welcome for this analysis, I’m so excited WE RLY FUCKING WON

Literally everything about BBS is a masterpiece Me before I listen to BBS: Me after I listen to BBS:

I just realized that it’s a full moon tomorrow. Charli dedicated Crash to Sophie & is releasing it on a full moon… excuse me while i sob.

so i'm not friends with my mother but i still love my dad untraditional lover can you handle that?

There's something in the air The girls are runnin' 'round in summer dresses With their masks off and it makes me so happy

It would be so funny (and adorable) if Rob's posts really were about his own debut album

I know Sophie would've stanned CRASH so hard

The Apple Music interview was too good listening to her speak about Sophie made me so emotional. Also after hearing her speak about Twice I love the song so much more. Although the production is a more upbeat on the album version, I can really hear the sadness and melancholy in it still

The way I forgot Body of my Own is a song about masturbation and I put it on my work playlist….oh well

charli continuing sophie’s plan

MAKE IT HAPPEN!

Whod’ve thunk when Lana mentioned that Change would influence the sound for the next album she actually meant the next 4?

She released Ultraviolence and Honeymoon like a year apart, and they both had clear concepts. I don’t think the amount of time between albums is the problem.

"recording a beautiful ethereal album" "listening to newly minted music" for me this doesn't sound like a poetry book

Also New Shapes still bops I'm sorry. It sounds even fresher with the rest of the album.

so she is in fact working with jack and laura again. @lustforlife care to explain? you said a day or two ago that she couldn't book him right?

halsey's struggle vocals on move me

for the last time Yuck is NOT HUCK i swear use your brain

16 out of 31 opportunities for Sky to announce something official. Little Ferraris current status:

2012: i crashed my car into the bridge, i watched, i let it burn 2022: im about to crash in to the water, gonna take you with me

The fact that Emile Haynie, Zach Dawes, Miles Kane, Gabe Simon & Dan Auerbach are literally out there and she settles for... Jack. Lana has lost her mind and she perpetuating mind loss by pushing it off onto us.

USED TO KNOW ME??? CINDY MY PUSSY IS LEAKING!

I long for another Lana guitar moment, sultry ballad Yayo 2.0 when

she’s telling us what to keep when the water runs

"As we were doing it, everyone kept talking about how it’d be a great song for Halsey. I was like, ‘No, I love Halsey, but this is a great song for me and I’m fucking keeping it.’ People talk about writing-camp songs being fake and constructed in a test tube or whatever. But it’s very real. We write from our reality. That’s why we’re good songwriters.” lmaoooooo

me leaving crash world tour with 5 bags of merch bc this era is just so stunning:

i would love to hear the Bandsintown version of Twice because is such an impactful and powerful one that reminds me of Track 10 BUT i'm glad that she decided to change the production for the album, is more fitting and is more cute, nice, gracious and lighthearted (and when i think that is probably a song dedicated to SOPHIE, i'm more happy with this softer take on the song)

not me crying in the bathroom at work listening to her talk about sophie

nfr/chemtrails >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> blue banisters... I SAID WHAT I SAID!

We got the cover of Rollercoaster, so it was all worth it in the end

Hopefully this is for LDR11, and in the meantime Lana will release another beautiful album in the vein of 'Blue Banisters' filled with nicely produced songs of different genres from different producers; so by the time she releases the next record I won't even care that Jack came back to disappoint us with yet another palatable album, with an unimaginative production.

not me zooming in so far I can see the pepper flakes on her croutons trying to peep a look at that pro tools sesh

lord if this album doesn’t have a new sound i’ll go crazy

I simply refuse any negative criticism of Twice after reading that

24 hours until Crash is available to stream worldwide just went back and rewatched the Bandsintown performance from last year. Seeing the New Shapes tease was so exciting at the time and seeing the Twice performance not knowing if it would even be on the next album or not was a moment. we’ve come so far and this whole rollout has been maybe a little too long and a bit messy, but it’s the most cohesive visually and stylistically. and what seems to be almost full choreography for each song is something I would’ve never even dreamed of. It’s truly been a great ride to a very fun and cathartic feeling album with a really nice track list that feels tight and no filler (some of the singles weren’t completely my vibe but after hearing them in the order of the album they’re refreshing) I can’t wait to see what she does next edit: also the Every Rule video is fucking amazing. It’s so heavenly and makes me love the song even more. It’s my favorite video of this era so far and probably of the last 2 eras. Seeing AG and Charli together in this theme was almost like redemption for never getting a fully realized bounce release with that aesthetic lol

How can you not like the lyrics on BBS? By the way, thanks for the shooo-hoo-hoo-hoooz. Masterpiece.

can the angels collectively pray that she doesn’t work with jack antonoff? i feel like between the twitter gays and charli’s hatred of conforming to the norm we can manifest it out of this timeline

Used To Know Me is a BANGER, no doubt why her label love it

Rob is really turning out to be the MVP of this era so far

OMG LAURA??

https://www.theguardian.com/music/2022/mar/17/charli-xcx-crash-review-atlantic https://www.rollingstone.com/music/music-album-reviews/charli-xcx-crash-album-review-1317693/ rolling stone saying baby is forgettable.... the lack of taste

i already liked twice but reading that (and connecting the dots) just seals the fact that it’s one of her best songs period

why would taxi be on crash deluxe it sonically makes no sense