by Oliver on June 23, 2023 in Album
The ex Chairlift-Singer Caroline Polachek hangs up Desire, I Want to Turn Into You – depending on how you count her second or fourth solo album – pop as an accessible consensus suitable for the masses with an individual character.
In close cooperation with the British producer Danny L. Harle – and later also with the input of Sega Bodega from the general squad of producers – emerged Desire, I Want to Turn Into You at the same time arty in an unpretentious way and trendy in a tasteful way, modern for the masses and yet in a creative way latently avant-garde – in a fairly barrier-free way, interestingly processing its eclecticism and easily accessible beyond the listeners of the associatively close Imogen Heap and Kate Bush to the clientele of Dua Lipa grippingly attractive.
For example, the blurred in the ambient Hopedrunk Everasking one notices quite symptomatically for many other moments that Björk or Susanne might have been more important than Sia and Co. for the identity of the record.
A pop jack of all trades with a large stage, even if you ignore the general hype Desire, I Want to Turn Into You subjectively doesn’t have to be able to fully understand: the individual songs are made up of great scenes, but as a whole they are also less fulfilling, can’t reach the regions of sparkling euphoria either individually or as a whole. The handle to Desire, I Want to Turn Into You is sometimes the first choice in the pop year so far, but it is easier and more obvious – although not entirely more satisfying – than the contrast with the generally aroused expectations might force it to be.
Welcome to My Island ratchets up the voices in an annoying/extatic manner in order to slide into a coolly reciting 80s beat, shimmers and sparkles in catchy synths, basses and soloing guitars, sets the direction of the record with its melodic spirit of optimism (even rapping to some extent). Pretty in Possible cultivates the 90s with a darker droning dubstep club atmosphere, but also gives the uplifting booming subtle cinemascope strings, meanwhile Bunny Is a Rider whistles with a subversive downbeat. The summery jitteriness wriggling on the guitar Sunset releases endorphins, whereas the enigmatic Crude Drawing of an Angel as mystical and contemplative as it is ethereal.
In Fly to You become Grimes and Dido are a little given away, but the contrast of drum and bass hectic over meditative synths with elegiac choral patina and loosely plucked strings convinces beyond the illustrious guest list. Butterfly Net first retreats to the singer-songwriter guitar, in order to let himself slip into the feeling for the trend-resistant production with relaxed drums and anachronistic organ, and to create a pleasantly longingly wafting grace that also the imaginative in-depth background of Smoke (sort of Burial in Hyperpop?) booked for themselves. And the dance appeal of I Believe has an exemplary hit chorus, without ultimately forcing the charts – and is nevertheless, or maybe because of it?, irresistible!
The meandering, not finding the point Collage Blood and Butter falls around the equally beautiful chorus, despite ethno-felling, in the somewhat random contemporary declension with bagpipe Tratra. And also the closer spread out on a meticulous beat with rhythm clickers and flickers Billions does not get to the point despite the choir and costs the reverberation of Desire, I Want to Turn Into You potentially an inspiring effect.
Because Polachek manages to create a wonderful album over 45 minutes – which one can primarily criticize for not being as outstanding as it is jazzed up almost everywhere.