“The Art of Starting Over” (let’s henceforth refer to the album by the second half of its bifurcated title, to avoid confusion with the film) fits squarely into a tradition of confessional pop that stretches at least from John Lennon’s about-to-be-reissued “Plastic Ono Band” to most of the Taylor Swift oeuvre. Probably any other record in that storied tradition delivered its candor and shocks right on release day, though, not following a feature-film-length teaser, which makes this sprawling 18-song collection (22 in the bonus-augmented digital edition!) tougher to evaluate on its own. And it’s not just the documentary: Judgment may be further clouded by Thursday night’s release of a music video for the half-title-song, “Dancing With the Devil,” which is bound to elicit strong pro-and-con opinions by putting Lovato in near-death makeup, recreating the worst moments of her life in song as she sings from a hospital gurney, tubes up her nose in place of an earpiece.
如果“开始翻转”做过come to us in isolation, with no attendant projects or hype to manipulate expectations, here, to the best of our ability to theorize that situation, is what we’d probably end up saying about it: It is, in fact, bold and brazen, and sometimes harrowing (to use all the adjectives already applied to the movie), and Lovato has chutzpah from Malibu to the Atlantic and back for laying herself out in terms this raw. It’s almost landmark-worthy, really, in that confessional pop-rock lineage we were just discussing, for how few filters she cares to put on a private life made public. And… we wish the songs were a little better.
看起来好像是那样认为这三个前三个预翻译赛道是他们自己的ep-in-lp ......向超现实的支撑原声“与魔鬼一起跳舞”的纪录片，让震惊 -在此之后向右前往前期敬畏，让听众和自己是放松一点的许可证。在这三个，真的是整个专辑中，开幕“任何人”是最好的赛道。完全随着她在2020年1月在格莱姆队伍绑架的情况下，伴随着钢琴，感觉不包销，但以最好的，最朴实的方式承保，铺平了甚至列侬甚至列侬的荒凉甚至列侬骄傲......虽然她原始尖叫治疗发声的版本总是将以喉咙倾斜倾斜宽阔的道路。“当我唱歌时，我觉得愚蠢”仍然是表演者刚才唱的最多的东西之一，至少这个流行的表演者，在这两百万的人面前，在那里蓬勃发展的自然分贝。
如果你愿意，这是足够高的或足够高的，这不是一个很可怕的是，这是一张专辑的其余部分永远不会那么容易。但它takes a dip pretty quickly with “Dancing With the Devil,” although this recounting of a relapse starts off with a hell of a promising first verse: “It’s just a little red wine, I’ll be fine / Not like I wanna do this every night / I’ve been good, don’t I deserve it? / I think I earned it…” That addicts’ justification gives way to the cliched hell imagery and blandly dramatic production, as an unmemorable pro forma chorus leaves the tune’s potential to turn into something really riveting purgatory-bound. That’s followed by another solo-piano ballad, “ICU (Madison’s Lullabye),” this one a sweet counterpoint to “Anyone,” with Lovato sharing her sorrow about letting her little sister down by ending up in the, yes, ICU — something that should probably never be turned into an “I see you” pun, even with the noblest of intentions.
在现在尴尬的时候 - 专辑是真正的插曲，它将作为一个宽松的救济，而Lovato在第一次获得一个灯-R＆B沟槽其他歌曲，“艺术开始，”虽然其令人愉快的不管是一个令人震惊的那些前三条轨道。“孤独的人”在节奏的吉他riff帮助中有一个近乎诵经的合唱，让赛道感觉像是一个体面的veriil lavigne / selena gomez混合。One of the album’s standouts, the acoustic “The Way You Don’t Look at Me” — one of the few times you’ll heard steel guitar on a Demi Lovato track — does a trenchant job of telling how a lover’s quiet apathy can be worst than going to “hell and back”; not for the last time on the album, Julia Michaels and Justin Tranter make a good writing team for her when it comes to taking on “issues.”
“Melon Cake” tries to split the difference between the two sides of the album: It’s in that super-confessional mode, like those early tracks — Lovato has talked about how, in part of her enforced diets as a child star, her handlers put candles in watermelons in place of real birthday cakes — but with a frothy pop feel in place of the musical melodrama. A promising song in theory, but hearing Lovato sing “No more melon cake” over and over again belies the album’s willingness to settle too often for elementary, sing-songy chorus lines.
她的合作格兰德阿丽亚娜，“昨晚遇见了他，”不是你希望的夫人的战斗;这是一个“魔鬼”歌曲太多了在不缺乏硫磺图像的专辑上，而且有一个原因是Grande-Cowritten Track并没有成为她最近的专辑 - 这是它充满奖金级别的奖励。这是少数曲目之一Lovato没有用手写作;另一个，一个远远优秀，是“小心”。Sans the autobiographical details the singer is trying to build into every other nook and cranny of the collection, “Carefully” stands out, in being more impersonal… but it’s also such a beautifully melodic, well-crafted piece of work it makes you wish she’d get right back in the studio for a non-concept album’s worth of outside contributions this good.
“我是那种情人”击中了一个Lovato目前的谈话点之一 - 胰腺第一。感觉就像一个真正挑衅的对联，“我不在乎如果你有一个鸡巴/我不在乎你不在乎如果你有一个wap，那么又是现有的歌曲。But producer Oak knows exactly how to sell the easy, breezy hook that is the album’s best, with soft, layered background vocals and live-sounding band that lift the album out of all that hellfire and set it down somewhere on a sexed-up tropical island.
最大的letdown荣誉转到Saweetie合作“我的女朋友是我的男朋友”，如果只是因为专辑的一个更好的抒情概念，甚至是一个非常好的线路执行，都浪费在集合最积极的令人讨厌的轨道上。Whatever the title might seem to promise, it’s not another nod to pansexuality — it’s a friendship-over- romance anthem, or, as Saweetie inevitably puts it, “chicks over dicks,” but the sharp lines in the verses are undercut by a nursery-rhyme chorus even a toddler might tire of, let alone the grown women needing a fresh girls-night-out anthem.
“California Sober” lends the album a nice, Cali-folky-pop Santa Ana wind of a musical interlude… only alluding and making no literal lyrical reference to the weed and alcohol that fit Lovato’s controversial definition of hard-stuff-avoidant “sobriety.” (Elton John will not be including this song in his personal playlist, anyway.) “Mad World,” her version of the oft-covered Tears for Fears tune, clearly belongs on the album because… they’d set a 21-track goal for the album and got stuck at 20? It’s not bad, but it’s a mystery. The non-deluxe portion of the album ends in a satisfying spot with “Good Place,” a reasonably-happy-ever-after wrap-up that again proves Tranter and Michaels are good partners. Put the alluring feel and sophisticated, acoustically rendered melody on replay, and you might even convince yourself the album isn’t as scattershot as it is.
“好地方”实际上展示了Lovato在非禁忌模式中的卓越声音，使它成为“任何人”的球出版物，这是一个恰好的票据。What comes before “Good Place” all too often feels all-over-the-place — a planned tour de force that probably should have settled in on whether it really wanted to be a soundtrack to the “Devil’s” work or just revert completely to Fun Demi as a tonic for all the trauma on display in the documentary. Amid the overtly autobiographical numbers, there are pretty good and not-so-hot numbers; the same unevenness goes of the more escapist turns the album makes. This might not be such a problem if “Art of Starting Over” had one undeniable smash on it to help steamroll over the unevenness. But there’s no doubt that she’s alive, well, singing more than just well, and stepping around smallish problems like how to make an album that feels coherent instead of dancing with Mr. D.