Maya Payne - The Lucky Ones [EP Review]

If you spend a significant amount of time lurking on Spotify, chances are you've probably already come across Maya Payne's music before - the young singer-songwriter from New Zealand topped the viral charts with addictive anthem 'If Only', which features on her debut EP, The Lucky Ones. This helped the 19-year old Christchurch resident garner international attention for her music, as she quickly discovered she had fans from all over the world listening to her tunes. If we had to describe Payne’s sound we'd say it's a bit of mix between Ellie Goulding and Tove Lo, with a splash of CHVRCHES and Halsey for good measure. But make no mistake, Payne is unlike anything you've heard before, as she combines her own unique sound with a pitch perfect voice. 

The Lucky Ones naturally opens with her first viral hit, 'If Only'. Coated in electro-goodness, it overwhelms your senses with hazy dance beats that give way to Payne's captivating vocals. Great for summer (and entirely seasonally appropriate), this one could easily be playing in an Ibiza nightclub on your next trip with the gang. As if you could have predicted what Payne would churn out to follow this, the singer makes a point to catch you off guard and prove that she is taking you on a musical journey. Lulling you into a false sense of security with her enchanting vocals, the singer drops the bass, triggering‘Self Defined’ to descend into a edgy, sassy, self-confident party that is effortlessly catchy and unashamedly addictive. Prepare to make this your new summer jam.

The third track from the EP is ‘Breathe Again’ which starts off by introducing you to waves of synth beats that provide a bewitching opening, with Payne displaying her darker, broodier side, lyrically. There's a bit of everything in here - hope, promise, pain, emotional vulnerability - all of which allow us to take a step further into Payne's world. “I give all my love/ I give all my love to you”, Payne echoes as we reach the triumphant chorus of next track, ‘Lucky Ones’ - the namesake title of the EP. Combining sickly sweet pop beats with a techno vibe, Payne’s ‘Allie-X’ style sound is dominant, bold and memorable; ‘Lucky Ones’ is certainly lucky for this young Kiwi.

‘Falling’, takes a turn away from the dance smash hits as Payne opts for an understated sound that highlights the heartbreak in her voice, backed up impressively by smooth piano chords that add to the solemn introverted atmosphere. It's not as commanding and dynamic as other songs in her arsenal, but it's still satisfying. Meanwhile, ‘We Are the Wild’ is, put simply, a highly energised, retro 80s song full of life and vibrancy – and it doesn’t try to be anything else. This is all about having fun and the true enjoyment of music, Troye Sivan style.  

Drawing the EP to a close, ‘Fragile X’, a song that details the singer’s vulnerability and struggles, ensures the venture end on a positive note. A self-reflective song detailing her journey from youth to now, it’s every bit as electric as you’d expect, and Payne doesn’t hold back, giving it everything and showing off the reversed beginnings of her experimental sound. Whilst The Lucky Ones might not hit every pleasurable note, there is an impressive amount of genuinely engaging music, elevated by Payne's strong and addictive vocals, that is highly commendable for a debut EP. Like select newcomers before her, she has produced a barrage of memorable material that doesn't just attract interest - it sustains it; particularly promising for the future.

Phoebe Ryan - New Music Spotlight

Today we're shining our music spotlight on singer-songwriter Phoebe Ryan. Whilst our last spotlight featured the kawaii metal band, BABYMETAL, we're heading back to the lands of electro-pop for this latest edition. Full name, Phoebe Holiday Ryan (practically screams star, doesn't it?) is a green-haired vocalist from New Jersey whose sultry, enchanting voice attracted attention in 2015, upon the release of her debut EP, Mine.

You need only listen to some of her luscious pop music to see why she's appealing; from the understated electro beats to breathy vocal delivery, this gal's infectious. Co-penning all tracks from her EP helped secure the attention of some famous celebs - T-Swizzle included - who praised its perfect construction and sound. Her sound is immaculately curated and ties together well as a package, 'Mine' and 'Dead' being the most notable examples.

Seeing as it's looking fairly likely Ryan will be releasing her debut album sometime this year - if the barrage of new tracks is anything to go by - it seems only fitting that she be this week's spotlight. But how does her new material differ and what type of sound is she going for in this hectic year? An impressionable one, that's for sure. First 2016 track, 'Chronic', is as heavy and resilient as you'd expect, a particular ear-catching gem that is effortlessly addictive and memorable, showcasing Ryan's vocal range as she flutters her way through another solid winner.

'Boyz n Poizn', her next offering, is pretty much self-explanatory and this one sounds surprisingly Lana Del Rey-esque, with Ryan detailing her escapades when it comes to partners and alcohol - but with a hazy and solemn sound. Every bit as dreamy as destructive, Ryan makes sure to mention that she "enjoys 'em/ destroys 'em", until she gets what she wants, while showing the vulnerable side to her songwriting in self-reflection.

Her most recent and relatively new release is the collaborative 'Dollar Bill', with Kid Ink, and the two sound better together than you'd probably think. The upbeat electro-pop is offset with Ink's rapping and makes for a more urban outing than anything Ryan has previously embarked on. 2016 Ryan music seems to focus on the vibrant - displaying a colourful sound that matches her equally striking hair colour, and it's a growth that really suits her aesthetic as well as her acoustic.

What Ryan has lined up to release next is a bit of a mystery, but safe to say that we're buzzing. If her present releases are anything to go by, it's set to be a big hit - and could secure even more attention for the singer and her music. You have to give the 25yr old props for smashing onto the music scene in a big way, and for having an intriguing element to her music that makes you just want to keep listening, earning her this week's first new music slot. We're anticipating big things.

Luna Shadows - Summertime [EP Review]

Chances are when we say ‘Luna Shadows’, the images that are conjured resemble more “moonlight evenings” than “pop singer”, but nevertheless, this multi-instrumentalist is proving difficult to forget.
The Los Angeles-based artist has risen to low-key prominence amongst online communities for her ethereal, care-free and artistically inspired music that she herself has labelled as “Echo Park Pop”, named after the idyllic location in Central L.A.

A forward-thinking woman, Shadows can usually be found writing, performing, recording, producing, engineering - and generally creating her intrinsically designed music, but has recently recruited indie producers Brad and Thom (The Naked and Famous) to assist her in this momentous ride. Indeed, Shadows’ personal style is representative of her lyrical content and musical vibe - it’s a bit pop-goth-chic, with an emphasis on chunky platform footwear not dissimilar to Charli XCX. But of course, this is offset by an adherence to pastel palettes for the body of her outfits. These ensembles that Shadows wears are very indicative of her musical content, which is often tinged with melancholy statements and expressions, wrapped up in a saddening romantic bow. Truly, these few first examples of Shadows’ music suggest that she has the hallmarks of a star, but can she make the dream a reality?

Well, if Summertime is anything to go by, then we should think so. The end product, “made in garages and bedrooms under the palm trees of Echo Park” is a captivating EP that utilises Shadows' enticing voice to its advantage. Starting off the album is the illustrious ‘Hallelujah California’ which really makes a mark. With breezy vocals reminiscent of Lana Del Rey, and an emphasis on electro funk like Halsey, there is something particularly ear-catching about Shadows’ delivery and emphasis on the picturesque. Cascading beats open up to a more mature second verse with enigmatic depth. The song effortlessly draws you in with its atmospheric acoustics and siren-like vocals that gives you a real feel for the singer's world.

Following on from this is 'Cry Wolf', an anthem in its own right, that favours the mid-tempo, with breathy, electronic vocals from Shadows reminiscent of CHVRCHES. ‘Cherry’ is up next, and follows a similar structure, but is far more vibrant and serene, with a powerful chorus - "'Cause darling if you call me/ I'll come running (Try and stop me)" - that shows how diverse Shadows can be. Recent release, 'Waves' shows no sign of dampening the album's success, benefitting from gorgeous piano chords and echoing vocals that are truly euphoric, and capture the beauty of 'Summertime' aesthetically, but are underpinned with heartache and emotion; focusing on the darker sides of summertime romance.

Overall, this is highly promising material from the up-and-coming artist, and we think she's one to watch on the music scene. Ultimately, Summertime is a fresh wave of new flavour, tinged with a solemn sadness that Shadows echoes so well in her vocals, that benefits from beautiful instrumentals and feels very raw and emotive at its core, despite the seemingly glossy acoustics.

Bat For Lashes - The Bride [Album Review]

It has been a considerable time since English singer-instrumentalist Natasha Khan’s last album outing – 4 years to be exact. This The Haunted Man follow-up is another concept piece, with Khan assuming the persona of ‘The Bride’, a bereaved woman who loses her husband in a car accident, and embarks on a solemn honeymoon alone. Whilst the concept conjures up images of popular deadly brides, this particular bride is far more self-reflective.

Peaking early, ‘Joe’s Dream’ is a tragic track that follows the accounts of husband ‘Joe’ who has a dream of himself dying; “what does it mean/ the bad things that I’ve seen?”. It’s a bit Sandra Bullock in Premonition, but it works. Particularly poignant and spooky, Khan portrays the waterfall of emotions admirably through her vocal delivery, reminiscent of former track, ‘Daniel’. ‘In God’s House’ details The Bride waiting at the church for her lover to arrive, as she slowly realises he’s died in a car crash, Khan takes this opportunity to hauntingly belt out heart-wrenching verses of ‘Fire, Fire, Fire’ in her trademark sky-scraping falsetto.

Moving onto mid-album, ‘Sunday Love’ is evocative of ‘Pearl’s Dream’ and ‘Prescilla’, showing a return of the more classical Bat For Lashes than the one we have been treated to in previous years. It’s ethereal, and surprisingly upbeat in tempo for a song crafted in grief, and Khan makes sure to welcome you into her dreamy pop world where anything can happen, and everything is acoustically astounding. On ‘Never Forgive The Angels’ Khan demonstrates how personal and intimate this particular album is, by surrounding listeners in deafening and atmospheric drum-guitar beats that bewilder the senses. It should be noted that Khan has a particular knack for creating enticing music that drowns out the outside world, washing away the immaterial, and forcing you into a land of self-reflection – and this song is the perfect example of her flexing her skills as a musical artist.

As we traipse into ‘Close Encounters’, Khan again opts for intimate and consuming baroque pop, whilst simultaneously showing off some of the most delicate and haunting classical beats that feature on the entire album, rising up and unifying perfectly with Khan’s breathy, beautiful falsetto. A particular gem is when The Bride fantasises about intimate encounters with her former lover; altogether a bit disturbing, but oddly charming. After all, “You know that I’ll love you, until the stars don’t shine/ you know that you’ll always feel this heart of mine” are very touching, personal lyrics, and Khan is formidable in the emotional departments.

If you thought the album couldn’t get any weirder, then prepare to be astounded on ‘Widow’s Peak’, a kooky and essentially sing-speak song that is vivid and dramatic, and for all intents and purposes, may as well have its own Beyoncé-esque accompanying video. After all, this is an experience, not just a mere song. It’s almost like you can picture Khan laying down in the middle of an isolated desert as the moon stands proudly in the sky, whilst a storm passes over ahead, and rain cascades down a rocky shelter (too much?). While this is ultimately impressive, it’s after this track that things get a bit despondent. Tracks start to blend in with one another and we’ve lost the sense of immediacy and individuality of the beginning of the album, until we slide back into ‘In Your Bed’ and ‘I Will Love Again’, which changes the tone. While earlier tracks are reminiscent of a drifting daydream, these are more solid and grounded in reflection, with Khan’s distinctive voice seeming more cemented and purposeful.

Overall, whilst at times Khan’s commitment to her carefully crafted concepts can hinder The Bride’s full potential as a grieving widow, the ways in which she intertwines her mesmerising voice with the dark, undercurrent themes more than makes up for it, creating something that is both seductive and imaginative. While it’s certainly no Kill Bill, The Bride proves to be haunting and heart-achingly bittersweet.

Fifth Harmony - 7/27 [Album Review]

Undoubtedly the most successful product of the U.S. X Factor series, fierce girl-group Fifth Harmony have made a name for themselves in recent years with their confident and ridiculously catchy club anthems. Following on from their debut studio album, Reflection, the quintet released their sophomore album, 7/27, on the 27^th May. But how does this new album fare?

Following some similar themes of emotional vulnerability, confidence, and empowerment from Reflection, 7/27 starts off with ‘That’s My Girl’. Indicating that we’re still very much in the ‘Worth It’ territory, female empowerment and strength are present lyrically, just to remind you of all the things that this group is synonymous with. It’s powerful and prominent in both vocal delivery and execution. ‘Work From Home’ ft. Ty Dolla $ign is perhaps one of the most notable releases from the album, and functions as a slow-builder that teases its climax but never actually quite happens, which in some ways is to its advantage. Its chill and understated beat serves it well, taming down what could be quite a riotous and perhaps overstuffed track.

Known for their effortless hit making (with much thanks to their writers and producers), the 5-piece shine most when they are in their element; rambunctious summer smash ‘The Life’ is no exception to this. Drenched in feel-good vibes and tropical beats, this charismatic hit emphasises the importance of enjoying your life and celebrating the small victories – an inspirational message for all. ‘Write On Me’ takes the pop formula and rejigs it a bit as the girls flex their country-dance side (can anyone say Avicii’s ‘Hey Brother’?) in this sweet, soulful, and harmonious song. Similarly, a collab with the slurring Fetty Wap (‘All In My Head/ Flex) goes down a treat, and is every bit as effortless and catchy as you’d expect without sacrificing any of its substance.

Clearly trying to channel the old school R&B vibes, the group opts for smooth, simmering songs ‘I Lied’ and ‘Gonna Get Better’ (‘No Scrubs’ pops into mind – although this isn’t quite on that level), which are reasonably satisfying and benefit from sultry and cool vocals. Likewise, ‘Scared of Happy’ manages to register on the scale with its upbeat and cheery sugar-coating melody that hides the vulnerable essence of the song; a fitting musical composition for the nature of the track, and a surprising gem from the 5-piece.

Whilst some tracks sky-rocket into successful heights, some fail to make an impact such as ‘Squeeze’, ‘Dope’ and ‘No Way’, despite not actually being “bad” tracks. The problem with these additions relates back to Fifth Harmony’s dynamic – they’re in their element when creating pop hits, but all of this hit-making inevitably means you’re going to have some duds. And these are some of them. The relatively average ‘Squeeze’ seems ultimately forgettable, whilst ‘Dope’ is pristine pop at its worst, and delves into grating territory with its cheesy ‘doo be doo’ vocal harmonies. ‘No Way’ suffers a similar fate, this time musically as it starts off to be rather promising but ends up more of a missed opportunity with what could have been a soulful and smooth pop/R&B mash up.

Whilst Reflection had a whole host of musical mixes and styles – some of which didn’t quite fit – 7/27 is a prime example of a more cohesive album but one that works a bit too well, like it’s on auto-pilot, in places. The consequences of this is that after a while, one track sort of blends into the other; it lacks a distinctive ‘break’ from the breezy, tropical blitzes that the group continually churn out on this latest album.

Despite this, 7/27 manages to redeem itself for the most part with its more soulful additions, that illuminate the powerful dynamic between each of the 5 members, both vocally and spiritually. There’s more personality here than meets the eye, and the group are in their zone when they are doing what they do best: making catchy, confident anthems. Whether they decide to shy away from this in the future and attempt for something a bit different is up to them, but it would be interesting to see the results of this, for sure. Nevertheless, 7/27 is an infectious pop entity that benefits from the powerhouse performances from Brooke, Kordei, Jane, Cabello and Jauregui. 

Ariana Grande - Dangerous Woman [Album Review]

Following on from 2014’s My Everything, Grande is back with a decidedly more risqué and adventurous album; a deviation from her previous work and musical styling. Indeed, in this deluxe ensemble, Grande gives it her everything (sorry, couldn’t resist) and turns to a multitude of musical genres to draw inspiration from (dance, pop, reggae, soul, funk, R&B). Despite some initial doubt about the focus of the album, and the initial removal of lead single ‘Focus’, after some re-structuring and name changing (from Moonlight), Grande settled on Dangerous Woman, named after the second song on the album. This proves to be a welcome change, as ‘Focus’ set up the album to be something similar to a ‘Problem’ 2.0, and there was slight apprehension that this new discography would be simply a rehash of what ‘worked’ before, instead of something fresh or new.

Fortunately, this appears not to be the case, as Grande opts for versatility and substance instead of simplicity and similarity. Of course, the collaborations are still there, and Grande teams up with Nicki Minaj for ‘Side to Side’ and Future for ‘Everyday’. The former arises after the duo established themselves as a featured pair on ‘Bang Bang’ and together on ‘Get On Your Knees’; their collaboration proving to be killer, and this is no exception. This time they make their mark on this reggae/pop banger, flooding the floor with Grande’s signature pitch perfect voice, while Minaj wastes no time in strutting out her verses across tropical beat waves – an overall catchy and confident collaboration. Elsewhere on the album, Grande opts for smooth and funky throwbacks to 90s R&B, with the fresh gem, ‘Be Alright’. As Grande coolly sings “But daylight is so close/ So don’t you worry ‘bout a thing/ We’re gonna be alright”, you instantly feel immersed in nostalgia as she effortlessly glides her way through this breezy addition. Grande may have just found her musical forte.

It has to be said that Grande has some killer writers on Dangerous Woman, particularly Max Martin and Savan Kotecha, and it is their combined effort that elevates the album to new heights of success. This is no more apparent than on the disco-dance-pop smash, ‘Into You’. As Grande drums out “A little less conversation and a little more touch my body/ Cause I’m so into you, into you, into you”, you can’t help but feel engaged, especially with those little nods to Elvis and her comparative idol, Mariah Carey. It’s clear Grande knows exactly what she’s doing, and she goes with it.

It's safe to say the winning streak continues throughout the deluxe version of the album, with ‘Touch It’, ‘Knew Better/ Forever Boy’ and ‘Moonlight’ showing what she can do. ‘Touch It’ is a self-assured and mature song that talks about knowing what you want and not being afraid to go get it, a confident recurring theme that traipses throughout the album. ‘Knew Better/ Forever Boy’ channels the Tinashe sultry smoothness, as Grande explores her inner woman and contemplates her own independence and reflects on relationship experiences in this impressive double dose. Meanwhile, opening track ‘Moonlight’ is reflective of My Everything, full of glitz and glamour with soaring vocals that place you right inside Grande’s world.

Despite these strong additions, ‘Bad Decisions’ leaves a lot to be desired, and almost teases what Grande could accomplish if she had given something a bit more – although her vocals are impeccable as per usual. Similarly, ‘Sometimes’ sounding a bit Ed Sheeran-esque, doesn’t seem to stack up well against her other tracks, and there is something not entirely together about this seemingly out of place song, despite its appreciated synths and instrumentals.

For all its efforts, Dangerous Woman seemingly highlights Grande’s growth as a musical artist, and her capability at lacing albums with rhythmic hits, but also draws attention to her general lack of cohesiveness. In this sense, the album’s general theming seems to be quite disjointed and uneven, and although Grande succeeds in experimenting with different stylings, there are minimal factors that tie and unify these songs together. Nevertheless, her third studio album is a diverse and energetic affair that she sweetens with her soaring vocals, as she delves into personal experiences, displaying intimacy and raw emotion that we haven’t seen before.

Overall, Dangerous Woman is a confident and self-assured addition from a young woman who is exploring her musical versatility and isn’t afraid to experiment with musical genres. Significantly more mature than her previous editions, this album possesses a personal touch, marking the move away from the pristine glossy pop that Grande founded her fame on, and into something suitably substantial. Building upon this new found musical strength, and trusting her remarkable singing voice (which has one of the best ranges in the industry, it has to be said), Grande shows that she can switch between soulful songs and pop-tastic hits and still achieve success for the most part. 

BABYMETAL - New Music Spotlight

BABYMETAL. An intriguing name for a group, and the concept perhaps even more: a trio of 'cutesy' Japanese girls that happen to sing along (and rock out) to heavy metal music. But Su-metal (lead singer), Moametal, and Yuimetal are much more than that, and their music has had quite the dramatic effect on the world - and this is what makes them our new music spotlight for this week. 

Over the years, our spotlights (also known as our new music discoveries) have focused on international music, covering the rise of French singer Indila, to the enigmatic Stromae, and violin-dubstep artist Lindsey Stirling, all of which you can read about above. But this time we're heading all the way to Japan - and although we have previously discussed our favourite K-Pop videos - Japanese idol bands have a whole different following, conceptual style and musical influence. BABYMETAL is perhaps one of the most intriguing phenomenons, whose tour sells out all over the globe, and whose fans are every bit committed to rocking out along with the metal members as they are. 

While the concept seems novel, the execution is anything but, and the group benefits from its strong instrumental roots and the stage presence of its singers; all three of them. While Su-metal does most of the main vocals (most likely due to her age of 18), Moametal and Yuimetal perform some impressive supporting vocals, and have become even more involved as they have grown older. It certainly begs the question as to what the trio could accomplish in five years, considering their rise to mainstream fame and growing popularity amongst a multitude of audiences. 

But what makes BABYMETAL so appealing? Is it their energetic and enthusiastic performances? Or their own personal style combined with bubbly personalities? Or the music itself? There are no shortage of things to love about the group as a whole, even if the members itself admit to being "afraid" of hearing metal music for the first time (they were created as a group by a Japanese idol company). Oddly enough, this just makes them more loveable and endearing. 

Each member has their own subtle and unique styling that ties in fittingly with the rest of the group's signature colours (black, red and silver). Su-metal usually has a different torso styling or cover, and her hair in a ponytail, whilst Moametal has one ringlet pigtails and usually a tutu, and Yuimetal has multiple smaller ringlet pigtails and a tutu to match. Not to mention the signature hand movements, signs and dances the group perform, much to an eager crowd's delight. And let's not forget their allegiance to the 'fox god' (their version of the metal 'rock out' finger sign). All of this makes BABYMETAL what they are, and the idol group just keeps going from strength to strength with every album they make. 

Their first studio album, simply entitled Babymetal, was released back in 2014, and contained their signature song 'Gimme Chocolate!!' - as well as several other classics, such as 'Megitsune' (one of their best) and 'Ijime, Dame, Zettai'. Following up from this, the group released their second studio album, Metal Resistance (containing incredible anthems like 'Karate' and 'Road of Resistance'), earlier this year in March, which received positive reviews and skyrocketed to the tops of charts in Japan, the UK, Australia and the US - an incredible feat for such a young group. 

The future is certainly promising for the trio, and whilst it could be difficult to understand the appeal of 3 young girls rocking out to metal music, if you watch one of their videos or concert sets, maybe you'll see why. Their energy, humour and personality shines through each of their performances, and it is perhaps the sheer joy that you can get from listening and watching them that inspires others to just take a step back and immerse yourself in something you've probably never heard before. 

Melanie Martinez - Cry Baby [Album Review]

If we were to tell you that Melanie Martinez was a competitor on The Voice you’d probably assume she had dipped back into obscurity – especially if we told you she was eliminated in week 5 – but you’d be wrong. Martinez didn’t stop there and instead chose to pursue her passions and thus, Cry Baby was born. Martinez’s musical stylings are similar to that of Marina and the Diamonds – both in tone and layering – and the album is representative of this, evoking fond Electra Heart memories, whilst her vocal styling is more similar to that of Halsey. But Martinez possesses a star quality of her own, and her album feels entirely personal from beginning to end, and not just a mere rehashing of what someone else has done before.

Like Diamandis, Martinez’s music is no fun-house, and behind every door is a disturbing musical surprise waiting just for you, in the best possible way. The sickly sweet theming continues throughout the album, with Martinez offering up track after track of candy-coated instrumentals and sinister lyrics; an effective way to have your thoughts easily digested by listeners. Overall, Cry Baby is an experimental pop album at its core, and utterly committed to its core theming of infancy, complete with samples of crying, liquid pouring, and soap sounds, which adds unique acoustic elements.  

‘Dollhouse’ and ‘Cry Baby’ are some of the most intriguing songs on the album, incorporating though-provoking lyrics, upbeat pop tempos, and catchy choruses. Drawing on her childhood nickname, the latter shows the amount of attentiveness and commitment Martinez has contributed to make her kiddie creation come to life in such vibrant and creative ways. ‘Carousel’ – featured on American Horror Story: Freak Show – is a fairground for the ears; spectacular and breath-taking, whilst ‘Pity Party’ is a misfit’s anthem for every generation. ‘Tag you’re it’ combines dark concepts like sexual assault with childhood games to emphasize the ingrained nature of entitlement to women’s bodies, and it works. ‘Mad Hatter’ takes the Alice in Wonderland motif to a new level and runs with it down the rabbit hole, marking another triumph for Martinez.

Whilst Cry Baby stays true to its conceptual idea, some tracks – when lined up with the other absolutely artistic creations on the album – fall short, and ‘Pacify Her’ is just average, whilst ‘Alphabet Boy’ wanders into bizarre territory. But when you’re aiming for an ambitious album like this one, you’re bound to have a few fatalities.

However, Cry Baby’s juxtaposition of sugary superficial sounds and harrowing, heartfelt lyrics give the album its edge above competitors in the alt-pop scene and Martinez’s cotton candy creation is as delicious as it looks on the cover. Overall, the 13-track album is a combination of pure ambition and imagination.