An album that builds upon the excellence of its younger sibling, ‘Brat and it’s completely different but also still brat’ serves to showcase Charli xcx’s talent as a musical trailblazer and the commitment she has for her artistry, particularly club music.
‘Brat and it’s completely different but also still brat’ – Charli XCX
Charli XCX’s rise to S tier pop stardom was self proclaimed as the “opposite of an overnight success,” in an interview with Zane Lowe for Apple Music.
XCX said to Lowe, “I’ve always been caught in this dichotomy of, ‘am I a left-field underground artist or am I supposed to be a popstar?’”
For the majority of her career, she’s been teetering and tottering in this odd space of niche artist and a singer with songs known world-wide like “I Love It” and “Boom-Clap.” For an album that she thought, “wasn’t gonna appeal to a lot of people,” BRAT undoubtedly took a hold over pop culture and sky rocketed her to world-wide recognition. Since its release, XCX’s BRAT has been used in political campaigns, revitalized the color of neon pukey-green, and propelled her notoriety from beloved secret among her initial fanbase to a modern-day sensation.
With the third official release in the BRAT universe, Brat and it’s completely different but also still brat, Charli XCX has solidified her imprint on this time in culture. The era of BRAT undoubtedly will become something that we look back on with both intrigue and admiration, only adding to the musical renaissance that is 2024.
When accepting the Music Innovator Award at the Wall Street Journal Magazine’s Innovator Awards last week, XCX said, “To creatively innovate, you must push the boundaries, and above all, you must be prepared to fail, which I’ve done many times and I’m okay with that now . . . Luckily for me, the pendulum of culture [has] swung in favor of messiness, personality, and the niche.”
While the latter may be true, XCX’s BRAT and this subsequent remix album would not of been the sensational success it is without her keen sense of artistry weaved throughout. One of her primary motivations while creating BRAT was to showcase the versatility and depth of club music, “From before I made BRAT, I knew we were going to do a remix album . . . I love the endless possibilities of music, particularly dance music, I think it’s so inherent to the genre.”
In setting out to make an album for her and her fans, she created the global sensation that is BRAT, this remix album juxtaposing the themes explored within tracks on the initial release and re-assessing what they mean post-acclaim and success of the first record.
“360 featuring robyn & yung lean” maintains the fun, lighthearted and cheeky note that BRAT initially started out with on the original record, Yung Lean and Robyn serving to bring a 2000s, y2k sort of chic to the song.
The original “360” felt tailor-made for the times we’re living in with references to Julia Fox’s icon status.
This remix on the other hand, thanks to its features, feels like we’re back in the 2000s wearing cheap sequins buzzed in a bar with this track in background, XCX certainly accomplishing her aims of showcasing club music’s versatility from the start of this record.
Going from the “360” remix to “Club classics featuring bb trickz” is like thinking you’re stepping into the bathroom at the bar, only to find you’ve drunkenly stumbled into a separate room, rave raging, energy frenetic and rampant. “Club Classics” on the original album was already one of the most fast paced tracks, this remix upholding that vibe while also making some innovative choices in production that make the track even more intense.
Bb trickz’s flow is unmistakably fun on her verse. It makes perfect sense to have her on a remix of a track that’s all about shameless self-confidence and losing yourself to the chaos that is dancing to the point of exhaustion in the club. The last 45 seconds of this track transport you to the settings of beaten down warehouses and underground raves, the energy exuding from the track feeling delightfully dark and powerful with “365” and “bumpin’ that” (practically the slogans of BRAT) repeatedly thrown in among the textured production.
“Sympathy is a knife featuring ariana grande” is the first taste of the more contemplative and comparative nature that XCX wanted to showcase with this album. The original “Sympathy is a knife” saw XCX comparing herself to this unreachable standard that other artists have achieved, something that may feel out of her grasp due to the very nature of how she approaches her artistry.
Now that her authenticity has finally paid off, she’s almost become the artist she was singing about in the original track, XCX coming to terms with what it means to be met with the double edged sword (or knife in this case) that is unfathomable fame and recognition, and the criticisms and hardships that come with it. Ariana Grande is no stranger to this feeling, having been an incredibly famous popstar for years, she was the perfect feature for this track, the two in conversation of what fame has brought into their already tumultuous lives.
It’s a knife when your
old friends hate your new friends
When somebody says,
“Charli, I think you’ve totally changed”
It’s a knife when somebody says
they like the old me, and not the new me
And I’m like, “Who the f* is she?”
‘Cause it’s a knife when you’re finally on top
‘Cause logically, the next step is
they wanna see you fall to the bottom
It’s a knife when you’re finally on top (on top)
‘Cause logically, the next step is
they wanna see you fall, fall, fall
“I might say something stupid featuring the 1975 & jon hopkins” is perhaps the least “club” out of all the tracks on the record. This is particularly in keeping with the original version of the track on BRAT, that initial track feeling much slower and unpacking what it means to be “famous but not quite,” begging the questions of what can XCX say and what rules of fame apply to her in this confusing profession where she is half famous, half everyday folk. That same energy is this track, but re-imagined as an ethereal and tear-jerking piano ballad with 1975’s Matty Healy bringing forth an emotional vocal performance aided by Jon Hopkins talent for musical composition. The track, while feeling the least BRAT out of all of them, is a nice change of pace to break up the energy on the record.
Jumping right back into the tone that the first few tracks were bringing, “Talk talk featuring Troye Sivan” is one of the most fun and vibrant songs on this record. Sivan and XCX’s chemistry on the track is something that is only matched a few more times among other features on this album, undoubtedly aided by the fact that the two toured together for months this year and were performing this very track on the Sweat Tour. A song about spur of the moment lust and sensuality, the “Talk talk” remix feels perfectly in place in the BRAT universe, just as Troye Sivan did for the Sweat Tour.
“Von dutch a.g. Cook remix featuring addison rae” had the daunting task of living up to the excellence that is the original “Von dutch.” While it doesn’t quite mirror the insanely intoxicating amount of energy that the original track brings, having A.G. Cook tailor the production to something that feels in place with XCX and Rae’s tantalizing and cheeky energy makes this track a standout on the album. Released as a single long before this remix album was announced, Addison Rae’s bratty scream at the end of the track became synonymous with BRAT, this track in particular living as a great example to show someone when they ask what the term “brat” may mean in a context that surrounds Charli XCX. The lyrics are genuinely funny and realistic when it comes to discussing the realities of what it means to be a female popstar in this day and age.
You just wanna scream my name
On and on, on and on
‘Cause I’m just living that life
All these girls are like
“Ah, can I get a picture?”
And then they go online like
“Just kidding, I hate you”
(Von Dutch, cult classic, but I still pop)
One of the most interesting tracks, in terms of lyrics, production, and composition, has to be “Everything is romantic featuring caroline polachek.” Before this remix, “Everything is romantic” saw XCX enthusiastically looking at things that may be considered trashy and sleazy like “Bad tattoos on leather-tanned skin / Jesus christ on a plastic sign” and seeing the inherent romance in them and life at large, allowing her to “Fall in love again and again.”
Here, on the other hand, she’s contemplating whether all these small delights in life are still romantic post insane amounts of fame and recognition, the speed at which life is moving impacting her ability to see everything with the grandeur she saw it before. The track’s change in tone is apparent in the production switch ups, the original certainly one of the most energetic and chaotic on BRAT, while this remix lives as a quieter track on the album. Like with almost every feature on this record, XCX is in direct conversation with Polachek throughout the track.
Charli calls from a hotel bed
Hungover on Tokyo time . . .
Hey girl what’s up how you been?
I think I need your advice
(It’s crazy I was just thinking of you,
what’s on your mind?)
I’m trying to shut off my brain
I’m thinking ‘bout work all the time
(It’s like you’re living the dream
but you’re not living your life) . . .
Am I paying back time?
Did I lose my perspective?
Everything’s still romantic, right?
This is an incredibly raw moment from XCX, admitting that the success of the record, while something she undoubtedly wanted, pulls from the romance of everyday human pleasures, coupled with the guilt that comes with feeling that confusing sense of sadness alongside success. The emotional backbone of the track is only aided by Polachek’s other-worldy vocal capabilities, serving to bring the messaging of this song straight to the heart. XCX comes full circle on the three minute track, realizing that while she lost some of the smaller moments of life she could romanticize per BRAT release, she’s now able to romanticize a whole new kind of living.
All things change in the blink of an eye
Charli calls from a photo set
Living that life is romantic, right?
“Rewind featuring bladee,” lives in the same theme as the “Everything is romantic” remix but feels a little more optimistic thanks to its production choices. The track has a similar feeling to the “360” remix in terms of sonics, feeling like something you may hear in the 2000s era of pop. After such a soul baring track, it was refreshing to hear XCX still explore the notion of wanting to go back to a simpler time but with a more light tone, especially thanks to Bladee’s unique vocal style that feels in place with both XCX and the production as a whole.
One of the most emotional on the original record, “So I featuring a.g. cook,” sees Charli happily contemplating on the past and all that this career has brought her, A.G. Cook helped to hone in on that lighter tone with the production that feels indicative of his signature, unique style of electronic music. The original version of “So I” is assumed to be about XCX’s since passed friend and collaborator Sophie, a legend in the sub-genre of music XCX operates from. On this remix, XCX seems to be broadening the range of view she has on her career at large, focusing on all the times in her life that brought her a greater sense of joy as a result of her career. The journey that listeners are taken through from track to track feels more obvious and satisfying once we make it to this point in the album.
Now I wanna think about all the good times
Me and A.G. on Mulholland
Crazy Uber, straight from a video shoot
Got birthday cake on the way
Now I wanna think about all the good times
“Girl so confusing featuring Lorde,” was another one of the singles released well before the album’s announcement and it took the internet by storm when it first hit music streaming platforms. “Let’s work it out on the remix” became an iconic line of reference, Lorde and XCX squashing beef publicly through their shared artistry was a special moment in music this year and remains to be one of the most special tracks from this record.
There aren’t any dramatic changes in production from the original track to this remixed version, and quite frankly, there doesn’t need to be with Lorde’s internet breaking verse. A track that was already powerful in its statements on female friendship and the complexities that come with it, XCX and Lorde forged an unforgettable moment in music during 2024, this track without a doubt will become one to reference when people are talking about BRAT’s impact in the future.
People say we’re alike
They say we’ve got the same hair
It’s you and me on the coin
The industry loves to spend
And when we put this to bed
The internet will go crazy
I’m glad I know how you feel
‘Cause I ride for you, Charli
“Apple featuring the japanese house” is practically more of a The Japanese House song than it is a Charli XCX song, which isn’t necessarily a bad thing. The majority of the track is sung by The Japanese House’s lead singer, Amber Mary Bain. The most striking difference in this remix from the original are the lyrical shifts. The original track centered around fleeing hardships that come from intergenerational trauma, whereas the remix is almost a continuation of that narrative, outlining where they landed in their pursuit to run from that familial burden. The Japanese House was the perfect collaborator for this track that takes the nuances of the original “Apple” and develops them even further in an episodic sort of manner.
Original:
I think the apple’s rotten right to the core
From all the things passed down
from all the apples coming before
I split the apple down symmetrical lines
And what I find is kinda scary,
makes me just wanna drive
(Drive, drive, drive, drive, drive, drive)
I’m gonna drive, gonna drive all night
Remix:
And I’m livin’ in another country
Got another girlfriend that you never met
I ignore when I see you callin’
‘Cause I know it’s something I might regret
I wanna know where you go
when you’re feelin’ alone
When you’re feelin’ alone, do you?
With both Tinashe and Charli XCX having major releases this year, “B2B featuring Tinashe” is yet another anthem on the power of female excellence and is really a track that is a means of self appreciation and recognition for the two. The original song explores XCX fighting to urge to run back to an old partner, the hard work of building herself up as this strong force that won’t run towards this person who we can assume XCX recognized wasn’t in her best interest. The remix, however, is just highlighting how terrific of a year both Tinashe and XCX are having going “back to back” on shows, shoots, etc. The original production was much more stark and aggressive, almost warding off the person the song was referencing, with the remix feeling much more lighthearted and indicative of the two women’s highlight of accomplishments that are uplifted through the lyrics.
I travel ‘round the world
to 15 countries in four days and
After I get off stage,
I’m on set shooting ‘til the a.m.
I’m f*in’ tired, but I love it
and I’m not complainin’
Oh shit, I kinda made it
“Mean girls featuring julian casablancas” makes the narrative of the original song more nuanced, adding in the perspective that was missing in the original. “Mean girls” off of BRAT was a glamorization of this specific archetype of a woman, one who is a mysterious, cigarette smoking, Lana Del Rey listening, alluringly “mean-spirited” individual, “mean” almost acting as another word for strong and opinionated. The remix pulls in Julian Casablancas’ perspective almost as the opposite end of those in a relationship with the “mean girl,” his verses humanizing both the character XCX created for the song and those that are in contact with her. Casablancas’ voice and style fits in particularly well with the piano sampled from Herbie Hancock’s “Secret Sauce.”
Bon Iver and XCX’s voices mesh wonderfully on “I think about it all the time featuring bon iver,” the track still exploring the same themes. XCX feels like she’s running out of time to accomplish all that life has to offer, such as starting a family and opting in for a slower paced lifestyle, while simultaneously juggling the responsibilities of being a famous musician. The track only further explores XCX’s doubts after the critical acclaim and success of BRAT, the production on this go-around feeling much more booming, grand, and melodramatic on this version, as if her time to choose between the lifestyles has only lessened since the first release.
Me and George sat down
and tried to plan for our future
But there’s so much guilt involved
when we stop working
‘Cause you’re not supposed to stop
when things start working, no
I found love baby
but I was scared to run out of time
I think about it all the time
Now snap out of the introspective nature of that last track, we’ve made it to “365 featuring shygirl.” An abrupt jump from the contemplation of the last song to the all consuming energy of the 365 remix is something that feels quintessentially BRAT. This remix was teased at various points throughout the year, both on the Sweat Tour and at DJ sets CX was hosting and a part of. “365” was a remix of “360,” making “365 featuring shygirl” a remix of a remix, further showcasing the endless variants of club music, which was one of XCX’s primary intentions with this record. Shygirl, with her beloved project Club Shy also released earlier this year, was the perfect feature for a song with the essence of club music and that “365 party girl” energy imbued directly into each fiber that makes up this track.
“Guess featuring billie eilish” may be the most popular track off this remix album, and it’s for good reason. The Dare’s production was already one of the strongest instances from BRAT when it was released and Eilish’s sensual vocals, while still feeling somewhat odd with the production, is a nice switch in style that makes it distinctly unique. The lyricism is clever and the last 3rd of the song where two of the world’s biggest female artists pass the word “guess” back and forth to one another is such a treat for the ears and mind, making this one of the definitive tracks that will be referenced when talking about BRAT.
Closing out with a feature we never thought would happen but makes perfect sense, “Spring breakers featuring kesha” sees two artists who created a brand around unapologetically raw, honest, messy aesthetics come together for a send off of an already historic album release.
In Kesha’s own words, “Wish they could be OG, they not / We goin’ psycho, we goin’ off / Yeah, me and Charli, we the party girl gods,” further solidifying their mark on the brand that is the “party girl” something XCX brought back into the mainstream with the release of BRAT.
The remix album has been out for over a month now, and Charli XCX is continuing to garner praise and recognition for an album that has not only been a defining piece of art for the 2024 pop culture sphere, but was also integral in bridging this sort of niche hyper-pop genre into the musical zeitgeist.
Charli XCX has submitted the BRAT projects for a wide array of Grammy awards, such as Album of the Year and Record of the Year, so this remix album is certainly not the last we’ll hear of BRAT.
Brat and it’s completely different but also still brat seems to be the final release in this chapter of XCX’s career, and she went out with a work that was able to expertly showcase her vision and admiration for club music and while interspersing moments of vulnerability and depth, a feat that was undoubtedly difficult but well worth the art that is now in listener’s hands.
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:: stream/purchase BRAT here ::
:: connect with Charli xcx here ::
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“Guess featuring billie eilish” – Charli xcx
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© Charli xcx
© Charli xcxBrat and it’s completely different but also still brat
an album by Charli xcx
