If there is one thing that Katy Perry is known for, it’s certainly not delicacy. Her latest release, “Prism,” is a colossal disappointment that can only be seen as a blemish in Perry’s career and otherwise stellar discography. Skyrocketing to stardom with her 2008 single “I Kissed a Girl,” Perry branded herself as the peppy bad-girl with whimsical fashion sensibilities and an affection for the ’80s. Coming off of a failed career in the Christian music world, Perry jettisoned innocence for raunchy hooks and verses dripping with double entendre and innuendo — a tactic that worked spectacularly for the singer. Her debut “One of the Boys” (2008) was a strong, smart pop album that generated hit after hit, including “Waking Up in Vegas” and — arguably the best pop song of 2008 — “Hot & Cold.” At their core, these songs were simple and easy to love.
After her initial foray into cookie-cutter pop music, however, Perry began to transform into a more serious artist. In 2010, Perry released “Teenage Dream” — a clear progression from “One of the Boys” and a refreshing display of growth and experimentation. Perry gave us a series of infectious and — for the first time — meaningful singles.
She displayed her genius on “Teenage Dream” by combining flippant feminine tracks with powerhouse anthems about liberation and self-confidence. Songs like “Teenage Dream,” “Last Friday Night (T.G.I.F)” and “Firework” were proof of Perry’s musical prowess.
With her history of past pop successes, it is shocking that Perry managed to make an album so outdated and musically stagnant as “Prism.”
It has been three years since the singer’s last release — since then, it is clear that Perry has avoided risky material and failed to create any new sounds.
At a time when pop divas like Lady Gaga and Beyonc? have been dominating the charts, Perry is stuck in her former success, desperately trying to hold on to the music that made her so relevant in 2010. And it’s not just these pop queens who are making Perry look bad.
Other up-and-coming artists are eager to take Perry’s place and threaten her fame. Young singers like Lorde and Miley Cyrus put Perry’s youthful persona to shame. Compared to Cyrus’ “Bangerz” and Lorde’s “Pure Heroine,” both released earlier this fall, “Prism” seems even more substandard and second-rate.
It’s not only that “Prism” is shamelessly repetitive and boring; it’s also that there are more talented artists who have already done everything that Perry is trying to do now -- except they’ve done it better. The main single off of the album, “Roar,” is another “Firework”-style anthem, with Perry presumably trying to discourage bullying and spew support for the underdog. However, both the message and the music are stale and contrived, with senseless lyrics covered up by an uninspired (though somewhat catchy) chorus of “oh, oh, oh, ohhs.”
And the rest of the tracks on “Prism” are just as tired and trite. Songs like “This is How We Do” and “Walking on Air” could have been hits three years ago, but now they’re monotonous and excessive. The saddest thing for Perry is that she seems to lack all self-awareness — she clearly has no idea how old she sounds. This becomes painfully evident on tracks like “Dark Horse,” which features Jessie J. This track tries to incorporate dub-step bass drops and haunting lyrics — tropes that have already overwhelmed the pop scene and are now mainly included in songs for ironic purposes.
Unfortunately, it looks like the golden age of Katy Perry is slowly coming to a close, with “Prism” being the final nail in the coffin. Perry has relegated herself to the annals of great pop music, now relevant only to those who are out of touch with the current music scene.
