ALBUM REVIEW: Poppy- ‘I Disagree’

From her early days as an eye-opening internet sensation to her now heavily anticipated genre-bending, third studio album, Poppy has constantly been capturing audiences in new and unexpected ways. Whether it’s her unnerving resemblance to AI, or her unique and sinister sound, it is fair to assume that something about her has caught your eye (and ears).

At the dawn of the new year, Poppy’s third studio album dropped under Sumerian Records marking not only a milestone in her career, but a sure-to-be milestone within the world of heavy music. There is no disagreeing that ‘I Disagree’ is a monumental step forward in the future of our favourite sound.

‘Concrete’ served as the lead single from the album, released in mid 2019 in order to promote the album to come. In true Poppy style, the track is a perfect fusion of metal against pop; a jarring juxtaposition of two polar opposite sounds. In some ways, I believe it is this fusion that makes her tracks so malevolent. Who would expect such an angelic voice to conjure up lyrics like “Bury me six feet deep/Cover me in concrete/Turn me into a street”? Much like the track ‘X’, it can sometimes feel like you are listening to a duet; two voices and two minds. But no matter how contrasting, her tracks always become cohesive; tied together by the musical skill and individualism she has acquired over her growing career. ‘Concrete’ defeated all boundaries, and when looking back, is a perfect representation of the pure ‘Poppy-ness’ that ‘I Disagree’ is filled with, acting as an enticing start to this musical journey.

Title track, ‘I Disagree’ came as the second single from Poppy’s third studio album, delivering more excitement to eager fans and listeners. Within this song, the room for vocals is clearly extended, adding a new found layer to this album. Unlike chanting verses and short strings of words that are most common within Poppy songs, the chorus of ‘I Disagree’ in particular adds a new and unforeseen layer of depth. I found this track also added to the theory of Poppy experimenting with a genre called kawaii metal. This is something that I must discover more about, but to my simple understanding, relies upon heavy instrumentals accompanied by melodic pop vocal aesthetics! This is something that is clear in a few of her tracks and is evidently something she may be tapping into, paying homage to bands who pioneered the sound and took a leap into the world of individualism. Foraging into a new dimension of sound and style, ‘I Disagree’ acts as a worthy spokesperson for the album.

‘BLOODMONEY’ comes as the third single from the album. They say the third time’s a charm, but in this case, the third time’s a portal to a new genre. ‘I Disagree’ was promoted as the first full length metal infused album of Poppy’s, released under hardcore heavyweights, Sumerian Records. So far, that fusion has been undoubtedly clear, with a heightened sense of classic metal elements within the pop. ‘BLOODMONEY’ taps back into a harder electronic style intertwined with metal, tip-toeing slightly into the world of Nu-Metal. Such pronounced beats never really go astray, but are much more striking within this track, creating a real stand-out single. ‘BLOODMONEY’ is fresh and exciting. Skilfully blending in elements of nu-metal, this song has a real edge that will leave you wanting more.

Within an album that blends genres that have all been created in order to provide freedom and individualism to musicians, ‘Anything Like Me’ comes as an important track within the project. Resembling the mixed sounds of ‘I Disagree’, this track illuminates the harsh battles that one faces not only between others, but themselves. Growth is an unstoppable force, a force in which Poppy plays upon within this track; “I feel her heart beating in me/Get her out of me”. This clear sense of pleading works to highlight the person she once was, and how it has now become separated from who she has become- a result of her tremendous growth throughout some disastrous circumstances. This small glimpse into her mind depicts a much larger story of her growth. Through this track, it is evident that ‘I Disagree’ is bringing her one step closer to the individual she wishes to be. ‘Anything Like Me’ sees Poppy ‘becoming someone’… becoming herself.

In perfect synchronisation, ‘Fill The Crown’ adds to the previous notion of individualism and freedom. After following the story of her growth and change, it comes as a reassurance to see the lyrics; “You can be anyone you want to be/You can be free, you can be free”. Contrasting the restraints set by others within the last track, we see Poppy holding authority over herself and accepting who she was once kept from being. This note of individualism comes as an important moral lesson for listeners, and is a heartwarming representation of the journey faced by our loved artist. ‘Fill The Crown’ also captured me due to its musical diversity. It has been established that ‘I Disagree’ explores a wide variety of genres, but within this track itself, a multitude mingle together. This eccentric flow of sounds that really shouldn’t match only enhances the messages of these songs. Individualism has power (and also makes a catchy track).

The next two tracks, ‘Nothing I Need’ and ‘Sit/Stay’ are both powerful songs that tackle important and similar issues. Both act as a heavy illumination of the threats within the world of music and fame. ‘Nothing I Need’ works to destroy the enticement that the music industry brings to its soon-to-be victims; “Something strange happened to me/All I ever wanted, it was nothing I need”, painting it as dream that when discovered, offers a harsh reality. Moreover, ‘Sit/Stay’ taps into the musical dream once again.The song depicts it as an opportunity that blindsides, placing expression into a cage and numbing the thought of vibrant minds; “Don’t go blind from the stars in your eyes/Welcome to the new starting line”.These tracks hold such jarring commentary upon the world of music, and to me, highlighted situations I had never really focused on before. Yes, the music industry is harsh, but what is it really like behind closed doors? Is it worse than we uninformed listeners could ever imagine? ‘Nothing I Need’ and ‘Sit/Stay’ were truly thought-provoking songs, bringing attention to often unspoken topics.

Track eight presents ‘Bite Your Teeth’, a track that I can safely label as my favourite. Perhaps this is due to its sharp resemblance to ‘Scary Mask’, an earlier collaboration between Poppy and Fever 333. The instrumentals are everywhere, the vocals change from angsty to angelic, the whole vibe of the track is chaotic. There is no better word to describe it than amazing. ‘Bite Your Teeth’ is a perfect example of creative freedom. Poppy is breaking the mould in a way that pushes all the edges, delving into new sounds and creating music that makes people squirm. If someone doesn’t experiment, then how will we ever know what it sounds like? This track would also have to be the most ‘textbook’ metal track off the album. The breakdown and the ‘blegh’ were both elements that sent listeners into a spin, and quite frankly, they make me excited every time that part is reached. ‘Bite Your Teeth’ flashes elements of metal within Poppy’s unique and often chaotic sound, creating a showstopper of a song.

The last moments of the album are captured within ‘Sick of the Sun’ and ‘Don’t Go Outside’. ‘Sick of the Sun’ is particularly sombre, stripping back instrumentals, putting the spotlight on lyrics and vocals. Being the most pop-infused track on the album, it comes as a refreshing sound that elegantly inserts itself into an at times chaotic track list. Soothing melodies make this track an easy listen, directing the listener all the way to the closing track, ‘Don’t Go Outside’. Yet again presenting itself in a sombre way, this track is haunting. A simple beat matched with Poppy’s iconic, entrancing vocals creates nothing short of an eerie atmosphere. It is only ever disrupted by quick flashes of guitar solos, then returns back to the harrowing sounds of before. Despite this, it is certainly not an underwhelming finish, instead leaving a lingering feeling upon the listener; an everlasting essence of the album of ‘I Disagree’.

Through a mere ten tracks, Poppy’s ‘I Disagree’ album showcased the best of many genres, filtered important messages to the audience, and became an anthem for growth. Not only do the lyrics speak of a need for individualism, but the unhinged production and chaotic nature of some of the tracks put this notion into action. Not only does this show Poppy practices what she preaches, but it depicts the bravery of her being. Her creativity and talent is unique and entrancing and within her third studio album, has created a selection of songs that are refreshing, powerful and truly mind blowing. Poppy’s ‘I Disagree’ is a perfect representation of creative freedom, self expression, and the future of unrestricted music.

Album Review: Polaris – ‘The Death Of Me’

Since 2012, Polaris have been shifting the dynamics within metalcore, creating albums that constantly push the envelope and re-imagine the constraints that were otherwise previously associated with their chosen genre. Mid-February was met with the release of the Australian group’s second studio album, ‘The Death of Me’, showcasing yet again the impeccable talent that this five-piece band holds. Upon listening to the album, alongside the multitude of positive reactions and receptions, it is beyond evident to see that Polaris are not only essential to the Australian music scene, but are influential figures within the international metalcore scene.

‘The Death of Me’ opens with one of the most raw and powerful songs from the album, ‘Pray for Rain’. With an introduction isolated from any fancy features, raw vocals and eerie yet sporadic instrumentals welcome the listener into the album in a haunting way. This notion is reflected throughout the entirety of the track, building upon the unease it creates. However, this could not be done in a better way. Utilising this, Polaris creates a track that entices and offers more and more around every corner. The depth and emotive nature of the track never ceases; making this it a true standout. ‘Pray for Rain’ is a powerful, haunting track, offering listeners an introduction to an album like none other.

Ringing true to its title, ‘Hypermania’ presents itself as a two and a half minute whirlwind. Contrasting to many tracks off of ‘The Death of Me’, there is no gradual buildup, no warning, but prompt passion, anger and pleading. Considering what the song is discussing; “Sometimes I wish the ground would open up and swallow me whole”, this pathway is extremely fitting. This is one of the things Polaris does incredibly well- moulding their sound to suit their story, the journey throughout the song. This type of craftsmanship should be applauded, and ultimately shows why they are truly game-changers in their field. ‘Hypermania’ is a fully-loaded track, packed to the brim with emotion, passion and aggression.

Track three, better recognised as the lead single from the album, is ‘Masochist’. Since it’s release, this track has continued to be one of my favourite songs. This feeling was yet again amplified when listening to it with the context of the album to support it. Sharing a journey of self-reflection and awareness, ‘Masochist’ reveals a story all too familiar to many; “your worst impressions were right about me”. Masochist delves into a new realm of realisation and a struggle to know one’s self, making this an anthem for all. Accompanied by Polaris’s signature powerful and emotive performance, in my opinion, this track is nothing short of perfection. Delving into a realm of familiar struggles, ‘Masochist’ powerfully portrays its own story, and serves as my favourite track off the album!

Following is yet another single, ‘Landmine’. This track marks another crucial point within ‘The Death of Me’, not only due to its presence as a single but due to the way it has been presented as a song. Emulating the same style as ‘Hypermania’, this track enters with no false starts. The juxtaposing brief to extended introductions is something really refreshing within this album, and upon first listen, added a new sense of suspense. The solid chorus is certainly a standout from this track and is a clear showcase of the talents of both the lead and clean vocals of this band.

Marking the halfway point of ‘The Death of Me’ is ‘Vagabond’. Alternating between the introductions, ‘Vagabond’ holds a gradual increase in volume, directness… intensity. Gearing up to be a powerful track, it certainly does not disappoint in its endeavour. For me, this track had one of the most memorable breakdowns. Something about its often out-of-place and offbeat nature created something so lovable and drew me back each listen. This unsuspecting placement seems to be a recurring feature, ultimately depicting that Polaris are still willing to push the envelope, even as they become more known and secure with their sound. ‘Vagabond’ is a powerful track, and one that certainly does not disappoint.

Track six is ‘Creatures of Habit’. Despite the incredible artistry within this song, and quite frankly, every Polaris song created, I was particularly drawn to the lyrics within ‘Creatures of Habit’. Built around questioning; “Has it occurred to you that we’re out of time?” and personal revelations; “Maybe our fear and our faith are just two edges of the same blade”, this track becomes an intense and thought-provoking series of events. For me, this is something I crave, and each time a band can pull off something that makes you think on a deeper scale, I become even more ecstatic than the last time. Through their clever and (to some) outspoken lyrics, Polaris have created a song that dives beyond the norm, digging through the surface and producing new ways of thinking. ‘Creatures of Habit’ is undoubtedly a powerful standout from ‘The Death of Me’.

Following is ‘Above My Head’. Since the album’s release, this track has perhaps been one of the ones I have listened to the most. For me, the feature that lured me in was the beautifully jarring juxtaposition between the pre-chorus and chorus. Although it happens in other tracks, the marriage between something so raw and aggressive and something fragile, almost broken, is incredibly powerful. This notion is amplified in this track due to the evident emotion, pouring out of every word, right back to the listener. The connection it creates is undeniable, constructing an even larger scale of depth to the track. ‘Above My Head’ is raw, emotionally charged, and enticing upon every listen, marking it as a standout track from the album.

Track eight is ‘Martyr (Waves)’. Paving the way for the song is its dramatic yet minimalistic introduction. From this, we are offered one of the most solemn and sombre tracks on the album. This is not to discredit the other tracks and the emotion they pour out, but this stripped back and ‘raw’ track offers something completely new from within this album. Showcasing their versatility and talent, Polaris prove they do not have to utilise power and aggression to create a brilliant song. Once again, the sheer talent of the band prevails. There is nothing more to say than this track is truly exceptional, and if it were to be performed live, would perhaps be one of the most emotive and raw songs to witness.

Up next is yet another personal favourite, ‘All Of This Is Fleeting’. This song is a call; a call for “anybody out there”, and there certainly is. These few opening statements immediately grab the listener and do not let go until the end of the track. Upon first listen, I was listening in awe to the incredible way this song was created. The pleading and out-pour of emotion is already heart-wrenching, but when partnered with Jamie’s vocals, offers a new depth of pain and rawness. Throughout the song, a battle between sadness and searching is had, ultimately reflected upon all those who hear it. Experiencing this journey alongside the band not only shows their endless capabilities as musicians but creates a strong connection to all those that listen. ‘All Of This Is Fleeting’ is a jarring yet inviting track, and has quickly become one of my favourites from the album.

Concluding the already impeccable ‘The Death Of Me’ album is track ten, ‘The Descent’. This track leaves its mark, ensuring that listeners will not forget the whirlwind of songs that just passed. In a snap, the aggression and strength balanced out with pure rawness is back. Utilising every opportunity to show off all they have, the track is littered with guttural screams and the most creative compositions they hold. ‘The Descent’ is a statement piece, a showstopper for the album, concluding ‘The Death of Me’ with confidence, class and chaos.

Through its ten tracks, ‘The Death of Me’ showcases everything Polaris have to offer; passion, emotion and security in their own sound. Exuding from each of their tracks is confidence, and rightfully so. Flawlessly, Polaris have told their own stories accompanied with their own sound and in turn, have created something that is nothing short of a masterpiece. Not only as a music fan, but as a fellow Sydney-sider, I am incredibly proud to call Polaris representatives of the Australian music scene- or perhaps more deserving, influential figures in the international metalcore scene. This album is a must-listen, and I am beyond excited to witness this live late February.