Somewhere between the six number one singles, 3-D documentary, and complete domination of the radio in 2010-2012, Katy Perry became a certified superstar. She also went through two heavily publicized relationships with Russell Brand and John Mayer, both of which serve as the basis for Perry's fourth album "Prism". Originally intended to be 'darker' than her previous albums, it comes as no shock to see a change of heart within both the sound and intent of this record. It's not completely off-track from "Wide Awake", the final single from the "Teenage Dream" era, but it's also not as serious or heavy-footed as Perry initially let on. This is proven right out of the gate with the opening track and lead single "Roar", another song built for self-empowerment, all riding on a shouting chorus and marginal drum-beat. While it certainly isn't the best song on this album, it's an accurate portrayal of its feel and intent. Indeed, there are emotions here that have been previously avoided in Perry's albums, but she confronts them head on, giving a presence of warmth and a for once, a humane personality. That's not the only thing that Katy achieves, however. She gives "Prism" light and shade through its thirteen tracks, layers of varying sonic detail, and while there arises some repetition in production all helmed by Dr. Luke and Max Martin, no two songs sound exactly alike, which successfully paints this record in different colors and styles. This all makes "Prism" live up to its title, and even when it confronts the thorny issue of divorce, there's an assured sense of purpose that underpins both the track and Perry's delivery of the all-too-obvious lyrics.
However, there's another edge to this sword. Musically, this is Katy Perry working at a peak of artistic ability, matching her ambition with some truly astounding songs. Problems arise when the lyrics come into play, as Perry is still prone to some bad habits. The most obvious setback is her obsession with pop culture: "Roar", while being an homage to Sara Bareilles in composition, also refers to Survivor with squeezing "eye of the tiger" in its melody. "Walking on Air" not only mentions Madonna's album "Erotica" in its opening verse, it sounds like her 1990 hit "Vogue" almost a little too well. Juicy J comes in to drop a Jeffrey Dauhmer reference in the trip-hoppy "Dark Horse", and "This is How We Do" name drops Chanel as well as fusing Mariah Carey with the word karaoke. These references also manifest in implicit ways as well: "International Smile" is essentially a minor-key version of "Digital Love" by Daft Punk, "Birthday" sounds like it was ripped from Madonna's early records, and occasionally a digital symphony works its way into a track a la Owl City. So on a deeper level, "Prism" does not successfully paint Katy Perry as a figurehead of her own pop enterprise. This in turn shifts focus to the surface, which is glossy enough to make this record thoroughly enjoyable just at that level. And that's not a bad thing, as Katy's career has always depended on her ability to deliver one gargantuan pop song after another. This pattern is kept in tact with "Prism", even if the first listen doesn't quite let all of its curves unfold. It'll take a few spins for each song to lay out, but it makes this record all the better for it. Katy is still in the process of finding a sound and style entirely her own, but in that quest, she's wound up with this: a big and polished set of songs that beg for you to play them over again. More than ever, Perry has found the balance between tasteful and tacky. "Prism" never offers a summer anthem like "California Gurls" or a monster-sized hook like "I Kissed a Girl", but that doesn't stop it from becoming Katy's best album.
Recommended Tracks in Bold:
1. Roar 2. Legendary Lovers 3. Birthday
4. Walking on Air 5.
Unconditionally 6. Dark Horse
7. This is How We Do 8. International Smile 9.
Ghost
10. Love Me 11.
This Moment 12. Double Rainbow
13. By The
Grace of God
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