Charli XCX’s career has always been somewhat of an enigma. Skirting the line between mainstream and left-field, the true appeal of Charli’s work has always been that she embodies–and has arguably influenced–the best of both worlds. Her foray into PC Music has garnered endless critical acclaim and a religiously devoted fanbase, whilst her Billboard-ready pop sensibilities have kept her keenly in the public eye, writing for acts like Selena Gomez, Shawn Mendes and even starring as the main feature on Iggy Azalea’s 2014 hit, “Fancy.”

With her latest release, Crash, the “Vroom Vroom” hitmaker is aiming for some mainstream success of her own. And, it has clearly paid off. Last month, XCX scored her first-ever Billboard Top 10 album, not to mention a number-one spot in her hometown of the UK. For those who haven’t been paying attention for the last ten years, it would seem that she’s only just arrived. But, for the “Good Ones” who have kept listening, Charli XCX has been the future of pop music for quite some time now, and it seems the world is finally catching up.

Watch the music video for “Good Ones”

Preceding the announcement of her lead single, XCX posted a disturbing image of bloodied heels on her Instagram, accompanied by the caption, “tip for new artists: sell your soul for money and fame.” The single in question, “Good Ones,” fizzes with an 80s Eurythmics flare, clocking in at just over two minutes. It was clear from the start that this number was primed and ready for radio, and the accompanying high-budget music video screams “main pop girl” more than it does “alt-pop star.” The idea of “selling out” has been prevalent throughout the promotional campaign, and Charli’s turn towards pure pop had fans wondering its level of satire.

Nevertheless, fear not, for there is nobody else in mainstream music making pop quite like Crash. From the booming, New Order-style drums of the title track, XCX asserts that she’s “about to crash into the water, high voltage, self-destructive, legendary,” and she’s taking us with her for the ride. It’s this self-aggrandising attitude that gives Charli’s most left-field bangers their bite (“Vroom Vroom,” “I Got It,” “Next Level Charli”), and Crash is no exception. Frequent collaborator A.G. Cook is once again on board, but this time around, his unique soundscapes are streamlined with a pop sheen, courtesy of George Daniel (The 1975). Alien synths blend into classic guitar licks and Charli’s wild lyricism, creating an opening track that rivals her experimental best, whilst still having a foot in the pop classics of yore.

“New Shapes” follows suit with this philosophy, recruiting fellow alt-pop icons Caroline Polachek and Christine & the Queens to create the greatest girl group that never was, as they each take turns lamenting a lover who craves the things they cannot give. What they do give, however, is an exhilarating pop rush that seamlessly combines the stars’ distinctive styles. “Beg For You,” featuring rising pop-star Rina Sawayama, is the another stellar collaboration, combining a classic Euro-pop sample (September’s “Cry For You”) with two of music’s most forward-thinking talents. With its skittering, garage-style production and powerhouse vocals, it is pure pop of the highest quality, and is bound to give the gays everything they want.

Watch the music video for “Beg For You”

The musical palette of the 1980s is used generously throughout Crash, and whilst Charli wears her influences clearly on her sleeve, she still manages to deliver her own stamp of XCX eccentricity. The Ariel Rechtshaid produced ‘Lightning’ would seem like a retro retread in anyone else’s hands, but Charli’s robotic pre-chorus and autotuned ad-libs skyrocket the track into the future, creating a vibe that’s as 1989 as it is 2099. ‘Every Rule’, meanwhile, takes the 80’s power ballad and throws it underwater, with aquatic synths subtly building to a spine-tingling crescendo. It is the record’s one true slow moment, as Charli sings of a secret love affair that she shouldn’t be pursuing. Cheating has never sounded so joyous.

Nevertheless, against the fearless experimentation of how i’m feeling now, Charli’s previous record, there are moments on Crash that can feel sonically safe in comparison. “Used to Know Me” is undeniably the little sister to smash-hit, “Out Out.” However, the interpolation of “Show Me Love,” a track that has been sampled dozens of times in modern dance music, feels overdone. “Yuck,” on the other hand, is a short but sweet disco detour taking notes from Dua Lipa’s Future Nostalgia.

Watch the video for “Used to Know Me”

Truly, what makes these songs click in spite of their conventions is the authenticity of Charli’s songwriting, a quality that has been present since the days of True Romance (2013). “Yuck! That boy’s so mushy, sending me flowers, I’m just trynna get lucky!” is the kind of line that only XCX could deliver with the right level of humour and earnestness, and the results are the most fun we’ve had with pop music since, well, Charli’s last album. “Baby,” meanwhile, borrows heavily from the Janet Jackson rulebook, but Charli’s blunt lyrical refrain of ‘“I’ma fuck you up” is signature XCX, contrasting the sensual nature of Miss Janet’s work.

Watch the video for “Baby”

Crash also has lyrical heavy hitters. “Twice” is inarguably the most moving song on here, contemplating the end of the world in a brutally honest fashion. “Up on the hill, we’ll see it all end, die happy thinking ’bout my best friends, till then I’m diving off the deep end, don’t think twice about it.” The lyrics are dark but inspiring, as XCX repeats the line “don’t think twice, don’t think about it” over glittering soundscapes of synth. The refrain could easily apply to Charli’s music career, a woman who constantly takes risks and pushes the boundaries of her sound, not thinking twice about the consequences. The results, like with “Twice,” are often awe-inspiring.

For those looking for vibes that harken to the rawness of how i’m feeling now, they need look no further than the deluxe edition tracks. “How Can I Not Know What I Need Right Now” is one of Crash’s darkest moments, interpolating Cherelle’s “Saturday Love” to explore the endless monotony of mental health. George Daniel’s influence is most evident here, as the electronic drums and high-pitched vocal samples play out like a sequel to No Rome’s “Spinning” (featuring XCX and The 1975 themselves). While “Sorry if I Hurt You: encompasses everything that Crash gets right, from its gloriously 80s drums to Charli’s lament to a lost love, it’s clear to see why this was nearly the title for the whole album.

Overall, Crash is both a celebration of Charli XCX’s popstar status, as well as a tongue-in-cheek farewell to a rocky relationship with her major label (Crash is Charli’s final album for Atlantic Records). Album closer “What You Think About Me,” in true Charli fashion, is a final middle finger to all her detractors. “It makes it harder when my names on your shirt, but I don’t give a fuck what you think about me,” she sings, a clear diss toward the fans that are never satisfied with what she does. And, after 45 minutes of straight-up bangers, it truly is difficult to see where they’re coming from. Stream Crash here.

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