The release of the debut studio album from Aussie rapper Iggy Azalea's brought with it much promise. Entitled The New Classic, it featured numerous hits from the female rapper, and with a name like that - it pretty much set itself up to be a hit or a failure. So which one is it? Making its way to the Billboard Hot 200 (at number 2) it certainly proved to be popular, but did The New Classic deliver on its promises? Well, the answer is yes and no. The avenue the album seems to have taken is a sort of self-praising, as if Azalea has been around for centuries; which is obviously not the case. It seems to be a bit confused as to whether its a compilation of hit singles or a fully formed album. If the album had taken a different angle in regards to not making most of the tracks focus on Iggy's journey into the music business (without actually revealing much about how that happened, other than to effectively boast about 'making it') then this could have garnered a higher rating.
However, The New Classic features a considerable amount of gems, one of which being the nineties-inspired track 'Fancy', which is an eclectic mix of electro-hop and hip-hop, packed full of enough sass to fuel a small city. Teaming up with Charli XCX, the two make for a rather dynamic duo as Iggy sasses her way through the track, unifying pop and hip-hop successfully. Charli XCX provides the ultimate hook on the track 'I'm so fancy/ You already know/ I'm in the fast lane/ From La to Tokyo' and the rapping from Azalea ('First things first I'm the realest/ Drop this and let the whole world feel it') really balances out the track, making it addictive and incredibly memorable. This rebellious streak continues in other areas on the album, crossing over into popular hits such as 'Work' and 'Bounce.'
Other notable tracks from the album include the upcoming single 'Black Widow' which features Rita Ora (who provides the main singing parts, in counter-balance to Azalea's rapping), and actually is one of the best songs on the album. 'Black Widow' is one of those tracks from the album that you just have to listen to, and her partnership with Ora is unexpected but actually quite suitable, as Iggy reels off her lyrics in quick succession across the killer beat. The first track on the album, 'Walk The Line' is seemingly another success, as it once again focuses on the singer's past, but it is actually rather more forward thinking than some of the other tracks like 'New Bitch', as it is far more optimistic. The album is lacking in no amount in terms of self-confidence and self-validity, with 'Goddess' and 'Don't Need Y'all' proving to critics that she literally doesn't need you to validate her success or self-worth as a recording artist. In regards to 'Goddess', Azalea addresses the misconception that White Girls can't rap, 'Oh what?/ A white girl with a flow aint been seen before?' whilst spitting out verses in rapid succession.
There's actually a lot of things to like about the Azalea as an artist; her quick-firing rapping, her unique southern drawl (despite the fact she is Australian) and her over-emphasis on the endings of words (in a cartoon-esque manner) certainly mark her out as an individual artist, and make her easily distinguishable on tracks, and indeed, on the radio (which is vital in today's music culture). Not to mention her level of sass is off the charts. An avid fan of 80s and 90s culture, Azalea incorporates them into her work, (most recently with her music video for 'Fancy') and within her songs themselves. The New Classic is a combination of pure drive and passion for her craft, combined with the grafting she has done to get where she is, and her renouncing that she has finally made it, and that no body can make her disappear.
If there's a few things The New Classic suffers from, it is perhaps that it is so bizarrely constructed. Featuring an array of hits, but a unidentifiable theme (apart from hardship), it seems as if Azalea has accumulated too many songs and needed an album as more of a storage device to her fans as opposed to a relative project. Occasionally on some tracks, Iggy's singing isn't as strong as her rapping and she loses her way somewhat, dipping into the dangerous territories of not quite matching the tracks beat. That being said, Iggy is seemingly strongest and most confident with the short verses with a strong beat where she can fully utilize her skills and create a maximum impact on the audience. The New Classic appears to have been produced a little bit too early in Iggy's career, and no doubt people will be confused as to the name choice, but despite this, it does actually feature numerous songs that are worth listening to. These notable successes ensure that The New Classic is remembered, but perhaps not as much as it could have been.
3.5 stars
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