Review: Charli XCX Remains One of Pop's Great Contrarians on 'Music, Fashion, Film'
This album cover image released by Atlantic Records shows “Music, Fashion, Film” by Charli xcx. Photo Credit: Atlantic Records via AP
by Maria Sherman Jul 24
3 MIN READ
When Charli xcx released the barely two-minute, glitched-out “Rock Music,” the first single from “Music, Fashion, Film,” she was almost immediately labeled a provocateur.
The song, with its hyperpop affectations and cheeky, lyrical dedication to craft — “I think the dance floor is dead/So now we’re making rock music” — confused and confounded. Was she trolling? Was she being sincere? Was the entire record going to be made up of power chords? Was “BRAT,” her zeitgeist-shifting 2024 electro album, worthy of total rejection?
No answers can be found on “Music, Fashion, Film.” It's up for the listener to decide. What is present are 11 alternative, genre-averse songs with winking rock ’n’ roll instrumentation, preoccupied by artmaking and ego. And what is clear is that Charli xcx and her dedicated team, the co-producers and songwriters A.G. Cook and Finn Keane, have a coherent collaborative vision — just like a band might.
Conceptually, the candor of “BRAT,” at the top of its hedonism, connected the club to a panic attack or, at the very least, a diary page, with its unwavering dedication to lyrical vulnerability. “Music, Fashion, Film” meets those same depths, but now with anxieties focusing primarily on fame, creativity and performance. (In that way, the song “Rewind” from “BRAT” might’ve been the greatest indication of what was to come. “Wonderin’ ’bout whether I think I deserve commercial success,” she sang.)
Reputation and perception have always mattered deeply to Charli xcx. On “Music, Fashion, Film” they still do — just not as much as her many thoughts on what it means to be an artist — delivered with distortion and humor throughout.
The apathetic spoken-word sections on “Music, Fashion, Film” feel closer to the moody influence of Charli's beloved Velvet Underground than the dance floor when placed atop fuzzed-out guitars, like on the standout, crushed and choppy “Card Declined.”
“2007,” written about filming TikToks, avoids vapidity atop power chords that play out like someone learning pop-punk covers for the first time, and sets a notable undercurrent for the album: The instrumentation is repeatable, often valuing rhythm-driven minimalism and alternative tunings, the sound of an early musical love.
The production is another story. Complications abound, like in the unexpected tempo change found in the charming post-rock “Magic Metal Montana,” a platonic love song written for Cook.
The catchy chorus of chords and drum machine on “SS26” doesn't have some of the rhythm of songs that offer a guitar-drums-bass reprieve, like “Yeah” and “Wink Wink.” But its distinct lack of the undeniable percussions that made “BRAT” is welcomed.
If Charli xcx is looking to find ways for reinvention, she's found a few, like in the loose and reverberating “I'm Afraid.” That one will invariably inspire lyrical comparisons to Meredith Brooks' 1997 hit “B----,” though Charli xcx approaches self-flagellation where Brooks turns criticism into a weapon. But that's a distraction from its charms: loose bass, a claustrophobic chorus, a post-grunge exorcism.
The 2026 meta mockumentary “The Moment” may have foreshadowed “Music, Fashion, Film.” The movie is a document of what happens after celebrity ambitions are realized. It isn’t a partner piece to this album, but there’s a shared ideology: Both are an illumination of what it is to be Charli xcx without the self-hagiography of an artist-produced documentary. Both are funny. Both are imbued with verisimilitude, while portraying a persona approximating her truth. And, ultimately, both are a bit dizzying.
Here and throughout her career, Charli xcx has existed at a crossroads, a cult-classic artist with pop-star recognition. “Music, Fashion, Film” is yet another evolution in that teetering identity, a big swing if one that may go underappreciated by newer fans. And if that's the case, that's a disappointment: Here and elsewhere, she remains one of the current moment's most interesting pop contrarians.
___
“Music, Fashion, Film” by Charli xcx
Three and a half stars out of five.
On repeat: “Card Declined,” “Magic Metal Montana,” “Wink Wink”
Skip it: “Persona,” “Rock Music”
For fans of: Loops, “Videodrome,” kitten heels
No answers can be found on “Music, Fashion, Film.” It's up for the listener to decide. What is present are 11 alternative, genre-averse songs with winking rock ’n’ roll instrumentation, preoccupied by artmaking and ego. And what is clear is that Charli xcx and her dedicated team, the co-producers and songwriters A.G. Cook and Finn Keane, have a coherent collaborative vision — just like a band might.
Conceptually, the candor of “BRAT,” at the top of its hedonism, connected the club to a panic attack or, at the very least, a diary page, with its unwavering dedication to lyrical vulnerability. “Music, Fashion, Film” meets those same depths, but now with anxieties focusing primarily on fame, creativity and performance. (In that way, the song “Rewind” from “BRAT” might’ve been the greatest indication of what was to come. “Wonderin’ ’bout whether I think I deserve commercial success,” she sang.)
Reputation and perception have always mattered deeply to Charli xcx. On “Music, Fashion, Film” they still do — just not as much as her many thoughts on what it means to be an artist — delivered with distortion and humor throughout.
The apathetic spoken-word sections on “Music, Fashion, Film” feel closer to the moody influence of Charli's beloved Velvet Underground than the dance floor when placed atop fuzzed-out guitars, like on the standout, crushed and choppy “Card Declined.”
“2007,” written about filming TikToks, avoids vapidity atop power chords that play out like someone learning pop-punk covers for the first time, and sets a notable undercurrent for the album: The instrumentation is repeatable, often valuing rhythm-driven minimalism and alternative tunings, the sound of an early musical love.
The production is another story. Complications abound, like in the unexpected tempo change found in the charming post-rock “Magic Metal Montana,” a platonic love song written for Cook.
The catchy chorus of chords and drum machine on “SS26” doesn't have some of the rhythm of songs that offer a guitar-drums-bass reprieve, like “Yeah” and “Wink Wink.” But its distinct lack of the undeniable percussions that made “BRAT” is welcomed.
If Charli xcx is looking to find ways for reinvention, she's found a few, like in the loose and reverberating “I'm Afraid.” That one will invariably inspire lyrical comparisons to Meredith Brooks' 1997 hit “B----,” though Charli xcx approaches self-flagellation where Brooks turns criticism into a weapon. But that's a distraction from its charms: loose bass, a claustrophobic chorus, a post-grunge exorcism.
The 2026 meta mockumentary “The Moment” may have foreshadowed “Music, Fashion, Film.” The movie is a document of what happens after celebrity ambitions are realized. It isn’t a partner piece to this album, but there’s a shared ideology: Both are an illumination of what it is to be Charli xcx without the self-hagiography of an artist-produced documentary. Both are funny. Both are imbued with verisimilitude, while portraying a persona approximating her truth. And, ultimately, both are a bit dizzying.
Here and throughout her career, Charli xcx has existed at a crossroads, a cult-classic artist with pop-star recognition. “Music, Fashion, Film” is yet another evolution in that teetering identity, a big swing if one that may go underappreciated by newer fans. And if that's the case, that's a disappointment: Here and elsewhere, she remains one of the current moment's most interesting pop contrarians.
___
“Music, Fashion, Film” by Charli xcx
Three and a half stars out of five.
On repeat: “Card Declined,” “Magic Metal Montana,” “Wink Wink”
Skip it: “Persona,” “Rock Music”
For fans of: Loops, “Videodrome,” kitten heels
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