![]() ![]() She told Rolling Stone that she wrote Manic in an extended period of mania, each song written on the basis of “whatever the fuck I felt like making.” As such, its list of collaborators is exhaustive, with studio stalwarts (Greg Kurstin, Benny Blanco, Cashmere Cat) offset with rising producers like XXXTentacion collaborator John Cunningham and Finneas O’Connell. “Is it really that strange if I always wanna change?” she asks herself on “Ashley,” Manic’s opening cut. Throughout, she plays with autobiography, amplifying and subduing her reality by inviting other voices in the fold. Stardom is inescapable, but Halsey’s fashioned herself a beguiling escape hatch-refracting herself through sampled movie clips, three interludes featuring three separate guests and genre exercises in country, ’90s alt-rock and twilit electropop. ![]() It’s also sincerely, indefatigably Halsey: She puts her loves and ambitions on wholly earnest display, even if it doesn’t always make for the most consistent listen. Manic is a rich and often confounding listen, an expansive album filled to the brim with the imagined worlds Halsey’s built for herself in the real one. But being slippery doesn’t a superstar make, a classification that ostensibly applies to her after the past couple of years-after nabbing her first Top 10s, then her first number one single (“Without Me,” which appears here in a beguiling new light), appearing in A Star Is Born and doing double-duty on SNL. She disavowed the “tri-bi” label (bisexual, biracial, bipolar) that was thrust upon her as an upstart darling at SXSW, the mid-decade comparisons to the wave of alternative pop made by women and that certain DJ duo that may have overshadowed her solo success by climbing to number one on the Billboard charts with her. It’s a tricky thing to negotiate that genre fluidity with the pop machine’s penchant for framework-and, at times, it feels like she’s shed and rebuilt three different pop star personas since emerging on the national stage with her 2015 debut, Badlands. In You Should Be Sad, she sings: ”No, you’re not half the man you think that you are / And you can’t fill the hole inside of you with money, drugs, and cars.Ashley Frangipane, better known as Halsey, has made it a point to defy labels in her rise to pop’s upper echelons. Songs such as You Should Be Sad, I Hate Everybody and Killing Boys reflect on a lost love too, but Halsey never explicitly says who they’re specifically about. She admitted it was the first song she’d ever written as “herself,” or as Ashley.įresh off the release of the hit, she subtly confirmed it was written about G-Eazy to Beats 1’s Zane Lowe: ”It’s about my relationship that the world has watched so closely and so vehemently in the past year and a half,” she said. The relationship was heavily publicized - as are most of her relationships - and following their breakup in late-2018, she penned Without Me about the former lover. Starting in mid-2017, the singer began dating American rapper G-Eazy. Halsey seemingly looks back on her former relationships too - both good and bad (but mostly bad) - in order to propel herself upwards and onwards in life. ![]() Here’s what to know She uses past relationships to push herself forward Netflix Canada begins its password-sharing crackdown. She sings about an abundance of troubles: loneliness, heartbreak, withdrawal, depression, physical health, a drug-addicted ex and a fragmented relationship with her own father.Įven upon revealing the album’s tracklist during an Instagram live last month, Halsey admitted: “I feel like you guys have really given me the chance this year to express myself more and be myself in a way that I don’t know.”īillie Eilish pens newest James Bond theme for ‘No Time to Die’ Manic comes across as more true to herself as a person and not just an artist, because she puts no boundaries on her subject matter her emotions are completely unfiltered. ![]() One of the first things the Bad at Love singer said about the album was that it wouldn’t just be Halsey’s third album, but Ashley’s first as well - and in many ways, that’s apparent in the intimacy of her writing. It’s Halsey’s most personal release to date Here are 9 things we picked up on after listening. Part of the Sun breaks free and forms a strange vortex, baffling scientistsĬlocking in at nearly 48 minutes, Manic teaches us a lot about the self-proclaimed anti-popstar. Synth-pop sensation Sigrid talks love for Canada, debut album ‘Sucker Punch’ ![]()
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