Album titles tend to carry meaning with them, whether they follow the defining “self-titled” path of Beyoncé and Shakira, or reference a self-proclaimed godliness as with Kanye West.
Oftentimes, the audience can appreciate and understand why the artist decided to name their album as they did. And other times, we get Iggy Azalea’s The New Classic, which listeners can only hope and pray comes from some unspoken sense of humor.
Iggy Azalea might have talent, but that ability rarely shows through her often-messy new album. With a popular single “Work” out, and features from a couple of friends like T.I. and Rita Ora, success was possible, but hard to foresee. When it came down to release, that potential did not see the light of day.
Aside from a rap voice that falls somewhere along the lines of the also-annoying woman from Karmin, generic beats and lyrics offer little incentive to even finish songs all the way through before skipping to the next song. Before you know it, you’ve reached the end of the album with nothing but confusion and possibly a headache.
Even the beats that seemed like they might develop into more interesting areas stay mostly stagnant and boring. “100” starts with a somewhat intriguing guitar riff, but the song does not progress much, and the lyrics do not help. With what could be a reggae-type transformative beat on “Lady Patra” ultimately doesn’t do much, held back yet again by awkward flow.
The absence of memorability offered by Iggy’s lyrics cannot be understated. Basically every song centers on vague claims to money and fame that never inspire emotion from the rapper or the listener. By the time the audience hears “bow down to the goddess,” in the not-so-uniquely titled “Goddess,” the notion becomes laughable.
While the T.I. feature on “Change Your Life” completely lacks substance and cannot easily be understood, the Rita Ora feature on “Black Widow” sounds closer to a passable track, if it were not so deprived of good lyrics and focused on the strange topic of loving someone until they hate you, which even reads strange after being typed out.
The one stand out track from the album, “Fancy,” features a much-welcomed change of pace by Charli XCX along with production mostly different from the rest of the album. Iggy has potential in music as shown by songs like this one and maybe “Work,” but various sections of her songs need drastic improvement before she will attract any truly deserved attention.
Boldly titled as The New Classic, Azalea’s album does not deserve what it asserts. Listeners will find it hard to believe that Iggy listened to her finished work and decided that it merited such a heading.
Perhaps she simply felt that, with her rampant bragging throughout the album, such an absurd label would only be appropriate. On the other hand, maybe the title is the only point to the whole act, commenting on how people today will claim music to be a classic, even when it is very bad.
Either way, the album is not really worth listening to besides one or two tracks. Through all the obvious issues, this effort may be new, but it’s far from a classic.