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Celeb News: PRISM Reviews: 61/100
Member Since: 8/10/2010
Posts: 14,634
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Quote:
Originally posted by katyperryismylife
Billboard, New York Times and Tiny Mix Tapes are coming to save us  |
I wouldn't be so sure on the NY Times.
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ATRL Senior Member
Member Since: 3/22/2012
Posts: 53,769
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Quote:
Originally posted by BobBertran1992
What the GP likes doesn't have to be what you call ''real music'' , the GP hears a song and if it's catchy they'll use it, albums are different though, and more nowadays, when people just don't buy music anymore
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... that was kind of my exact point.
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Member Since: 3/15/2013
Posts: 32,106
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Quote:
Originally posted by Retro
... that was kind of my exact point.
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Well, I thought that you meant that if an album is succesful or has many succesful singles, that makes it worth a high score on Metacritic
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ATRL Senior Member
Member Since: 3/22/2012
Posts: 53,769
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Quote:
Originally posted by BobBertran1992
Well, I thought that you meant that if an album is succesful or has many succesful singles, that makes it worth a high score on Metacritic
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Not really; what I meant was that something should be worthy of good reviews if the general public somehow indicates that they are extremely receptive of it and like it. Of course this doesn't work with all songs, but if it's not specifically crafted as vulgar, generic, or basic song with the sole purpose of attracting radio and iTunes buyers, and it still achieves success and good GP reception, it should have better reviews.
This is solely within the pop sphere of course, since a lot of VERY good music outside of pop is sadly never commercially recognized.
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Member Since: 8/19/2013
Posts: 2,069
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Quote:
Originally posted by Retro
Not really; what I meant was that something should be worthy of good reviews if the general public somehow indicates that they are extremely receptive of it and like it. Of course this doesn't work with all songs, but if it's not specifically crafted as vulgar, generic, or basic song with the sole purpose of attracting radio and iTunes buyers, and it still achieves success and good GP reception, it should have better reviews.
This is solely within the pop sphere of course, since a lot of VERY good music outside of pop is sadly never commercially recognized.
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I don't agree with this at all. Great songs are overlooked by the GP ALL the time, and terrible ones / generic ones shoot to #1. (I do generally think that most #1 songs are #1 for a reason & got something very right, but it can be about timing / competition as well.) I also think there's something really to be said about reviewing an album as a whole rather than the tracks as singles: you take into consideration not just the song, but the flow of the album & how the arrangement of the songs gives messages about the intent of the work, and those can definitely bring a score down. PLUS, there's just the fact that the GP isn't the ones writing reviews: it's people who professionally listen to music, so have a much broader listening repertoire. I find that how pop albums fit into the WIDER SPECTRUM of all music (rock, alternative, electronic, world, etc) is what often decides it: does it hold up under that scope, or does it end up look vapid, empty, cliched.
Anyhow my person rating for Prism is 3-3.5/5 so I hope it ends up around 65 as it's final rating.
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Member Since: 11/23/2011
Posts: 46,048
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Quote:
Originally posted by Fruity
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I guess my original prediction of low 60s was too high. 
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Member Since: 5/7/2011
Posts: 7,679
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Quote:
Originally posted by Monster
I wouldn't be so sure on the NY Times.
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They've got a quote on the album cover saying "Katy is the Most Potent Pop star of the Day", I think it's fairly safe to say they have a good review ready to post.
Quote:
Originally posted by EdgeOfAddiction
I guess my original prediction of low 60s was too high. |
Am I misreading something? Those first two in the quote say they gave Prism 60, yeah? Why is everyone acting like that Fruity Quote contains 4 reviews that are around 20?
8 Reviews so far gave Prism at least 60, there's at least 2 more very positive reviews to come. I think it's fairly safe to say that 60 will be the lower limit of Prisms score.  (Unless Rock/Real Music Reviewers decide they want to try to troll her)
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Member Since: 8/18/2013
Posts: 7,220
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This better remain in the high 60s by the time all the reviews are in. 
But I'm glad this is a huge improvement over TD. Deserves all the praise.
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Member Since: 3/5/2012
Posts: 2,180
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Quote:
Originally posted by Teen Idle
I already said that I was in another thread  but that was in 2010 when I was 12/13 and listened to Katy and Rih, but then I grew up and found much better, more professional music and performers
im only replying to oneandonly's flamebait tbh
and don't act like we don't see you in the gaga threads |
Funny, when you see Lady Gaga's last tweets you'd think otherwise 
Anyway, did the USA Today review count? 
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Member Since: 8/29/2011
Posts: 9,504
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USA Today doesn't count for music scores 
They're so slow to add reviews (not that she has any positive ones coming yet). Ironic that so many positive reviews are coming from publications that don't count at all or don't count for music.
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Banned
Member Since: 4/30/2011
Posts: 38,486
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Member Since: 4/20/2011
Posts: 4,134
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yea, and look at that nerd who wrote the article. 
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Member Since: 8/1/2012
Posts: 4,224
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Quote:
Originally posted by Apocalypso
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Stupid. Not only is this a painfully short review.... but having a scale out of 4 is REALLLY dumb. Like why
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Member Since: 6/19/2012
Posts: 819
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Member Since: 8/19/2013
Posts: 8,154
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Quote:
Originally posted by Apocalypso
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They gave her a 25 (1/4) for Teenage Dream, so it is improvement. They're local anyway so I don't think they're weighted as much on Metacritic.
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Banned
Member Since: 4/30/2011
Posts: 38,486
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Consequence of Sound – 70
Original score: 3.5/5
Quote:
There are a lot of cynical things you could say about Katy Perry that wouldn’t be entirely inaccurate: that her biggest and best songs often succeed because of a steadfast refusal to cater to anyone other than the lowest common denominator; that she’s shown a bandwagoner’s approach to her musical career, chasing trends instead of establishing them; that her greatest successes have come from shouting what are essentially emotional platitudes from the highest of mountaintops. But, what that cynicism ignores is the most basic of things: Katy Perry singles are really, really good pop songs.
The hits are, of course, major hits. Lead single “Roar” is streamlined Kiwi pop, with a bridge that sounds weirdly like Good News-era Modest Mouse, and a chorus that’s easy to shout joyfully in just about any available situation. Later, the irrepressible disco jam “Birthday” beats Carly Rae Jepsen’s Kiss at its own game. Pre-release non-single “Dark Horse”, despite the inclusion of southern rap legend Juicy J in a verse as token as Kanye’s on “E.T.”, still feels vital and forward-moving thanks to an aerated pencil sketch of a trap beat.
It’s not a coincidence that those songs show up on the record’s first half, which is uniformly more upbeat and likely to be the pool from which future singles are drawn. The record’s second half is filled with more mid-tempo tracks, ballads and pseudo-ballads, and the dramatic production speaks to the personal trials Perry has endured since Teenage Dream (notably, her failed marriage to comedian Russell Brand), even if the lyrics only speak to a general sense of overcoming something. In true Perry form, she is steadfast in her avoidance of specificity in her lyrics.
That back half messes up the pacing of the record, though, as many of the tracks don’t differentiate themselves from each other. “Ghost” and “Love Me” stand back-to-back with almost identical tones and tempos, turning into seven-plus minutes of listenable, but un-noteworthy ’80s synth pop muck. Closing tracks “Double Rainbow” — decent despite its cringe-worthy, meme-dropping title — and “By the Grace of God” would stand out more if they hadn’t been forced to rub elbows, thus stealing momentum and impact from each other.
Sometimes, Perry and her A-list producers (pop icons like Max Martin, Dr. Luke, Benny Blanco), in an attempt at making palatable many disparate characteristics in service of Perry’s every woman charm, end up borrowing too liberally. While the groove on “Dark Horse” is strong, it’s still not wrong to call it a trap for soccer moms. “International Smile” is almost a straight rip of Daft Punk’s “Digital Love”, right down to the wild, pitch-shifted keytar solo. “This Is How We Do” features a lot of sing-talking, including a “This goes out to the [blank]” coda that only hammers home how much better Ke$ha is at this stuff. “Double Rainbow” and “Walking On Air” actually sound like vanilla re-interpretations of Valusia-era Zola Jesus (!) and Hercules And Love Affair (!!), respectively.
But, while those criticisms are valid, almost any criticism for a pop song can be annihilated via the hook, and Perry is a champion of choruses. Slower tracks “Ghost” and “Unconditionally” explode the moment Perry lets loose; “Roar” has already become the teenage anthem of choice, thanks to its almost unparalleled possible applications for affirmational YouTube videos; “This Moment” rides U2 guitars to a climax that aims to soundtrack every prom night for the next few years.
Moving the goalposts of pop music is not Katy Perry’s aim. Instead, Perry makes her name by crushing the established sounds of pop radio. Prism lacks the pop smash depth of Teenage Dream; it’s unlikely we’ll get six radio staples out of Prism. But, a solid three or four stereo-rattlers is not out of the question. While neither Perry nor Prism push any boundaries for pop music, they certainly raise bars.
Essential Tracks: “Roar”, “Birthday”, and “Ghost”
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Counts for Metacritic  :
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Banned
Member Since: 4/30/2011
Posts: 38,486
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Part of Billboard review: http://www.billboard.com/biz/article...ism-katy-perry
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Katy Perry's sophomore album, "Teenage Dream," which spawned five Billboard Hot 100 No. 1 hits, pristinely captured the buoyancy of youth through gooey synth-pop. She's still championing optimism with super-producers Max Martin, Lukasz "Dr. Luke" Gottwald and Cirkut as her sonic guides, but the album is also a well-executed step toward adulthood. "Unconditionally" trades in the "Teenage Dream" idealism for a more reliable romance. Elsewhere, Perry evokes her recent divorce ("Ghost") with slowed-down guitar hooks.
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Quote:
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Subscribe to billboard biz to continue reading this article and thousands more.
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Member Since: 8/29/2012
Posts: 22,883
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I can't believe she's in a Ke$ha situation because of her working with Dr. Luke. She cant be taken seriously when she works with that man. It's quite sad.
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Member Since: 3/15/2013
Posts: 32,106
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Quote:
Originally posted by SupahBass05
I can't believe she's in a Ke$ha situation because of her working with Dr. Luke. She cant be taken seriously when she works with that man. It's quite sad. |
But at least she can get rid off him
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Member Since: 11/29/2006
Posts: 4,549
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