By TALON STAFF/ Organized by LARRY BONILLA
Charli XCX emerged out of the summer of 2024 as a mainstream pop sensation. Her highly praised album “Brat” made resounding waves this summer with “Apple,” “Girl, So Confusing” and “360.” One might consider how differently this year might have gone if not for the release of this album.
Charli’s “Brat” was the most lucid beacon of pop music to Generation Z for its indulgence in hedonistic party music, playful anthems and passionate energy while still diving straight into bittersweet reflection, melancholic longing and existential pondering.
Charli was deeply inspired by London rave music, and she channels an early 2000s sound into her electro-pop and EDM music. It was her sixth studio album, and she worked with multiple producers including A.G. Cook. As it released on June 7, “Brat” became the summer defining sound. Yet, almost four months later, “Brat Summer” is a distant, blurry memory—even Charli declared it over. Thus, we move on and transitioned from summer to fall, but Charli was not done yet.
On Oct. 11, Charli XCX released “Brat and it is completely different but also still brat,” an album containing 17 remixes of all the songs on her summer album. Even before the release of “Brat,” there were rumors of remixes. Charli released an A.G. Cook remix of “Von Dutch” featuring Addison Rae earlier this spring, and in late May, she released a remix of “360” featuring Swedish rapper Yung Lean and Swedish pop singer Robyn. She continued to release other remixes. It was up until Sept. 12, she announced the remix album at the release of her remix of “Talk Talk” with Australian singer-songwriter Troye Sivan, which was just in time for their co-headlining tour Sweat.
As much as it is a mouth full to say, Charli made sure to invite contemporaries, friends and a former rival. Much like how Charli xcx invited everyone to her album, I thought I’d ask members of the Talon staff to join in this review and “work it out on the remix” with me.
Collective Thoughts
As a massive project with about 30 collaborators—whether it be remixing or performing—there is a lot to take away from such an imposing album. With so many hands in one 50-minute album, it is more practical to say that the “Brat” from this summer is not the same one we see this fall.
Between myself and the Talon Staff I reached out to, we found that the remix album to be an amusing way to return to the nostalgia of summer. Managing Editor Karleigh Yancy perfectly describes the remix album as “a victory lap, a direct response to the response to ‘Brat,’ and an expansion on the ideas and themes presented in the previous album—how those ideas and themes have changed with her newfound success.” As I brought up in the introduction, Charli cannot turn back from where she is now. She made it; she is “living that life.” Accordingly, the remix album builds on “Brat” but with the position of her new, elevated mainstream fame.
Multimedia Editor Santiago Nunez notes that Charli “takes a step away from the sound of ‘Brat’ and moves closer to some of her earlier works.” In this sense, the remix album acts as an reflective, introspective work. Santiago points out that many of the songs align closer to Charli’s Bubblegum Bass sound (ie. a form of EDM that ventures into alternative and countercultural sensibilities with an embrace and re-interpretation of pop methods).
In terms of the terminology of “remix,” Social Media Editor Paulina Mata says, “the purpose of a remix isn’t always to make a better version but rather a reimagined one.” This frame of rationale is fairly reasonable. However, one sentiment remained present in our review of these songs. Karleigh mentions, “no matter how you look at it, every track is intrinsically tied to its Brat counterpart. From a critical point of view, it’s hard to look at a song without thinking, ‘was the Brat version better?’ ‘Does this improve upon it?’” It is hard to separate the new from the old. Despite this, we attempted to be as objective about every remixed song, but we still considered the sentiments and themes of the original song.
One of the unique appeals of this album is the inclusion of multiple featured artists, celebrated, famous figures in the industry. Staff Writer Ellie Vallery notes, “each feature had Charli’s signature sound, yet each one was unique to the collaborator and lyrics.” The charm of the remix is not just a rework of Charli’s song but additionally a way to integrate a unique flare into each of them. Some are complementary; others aren’t particularly complementary. Paulina states the remix album’s “counterparts are 50/50 in its hits and misses.” Of course, not all of the songs will be better. However, as Paulina points out, “I could not get behind the vision of a select few.” There are a few almost unanimous features that were particularly disliked. Paulina also says, “The concept of a remix album with so many talented features is appealing, but not executed with the flawlessness of the original.” This is particularly true considering the rankings below this review.
Santiago points out that “The 1975 in particular are a frustrating inclusion.” He later mentions that “Bon Iver and Julian Casablancas’ vocal performances felt largely uninspired.” I had doubts about a few of the features when they were announced; at the top of the list were the above mentioned. Needless to say, the doubts were affirmed. This is no discredit to the work of these artists; they have all created compelling work in their own world. The problem is that they don’t work with Charli’s 3-6-5-party-girl style.
Generally, the staff found the album to be worthwhile if you were a fan of the original “Brat”; however, nothing can top it. As Santiago mentioned, “The decline from “Brat” is noticeable, but the project doesn’t fall flat, achieving many highs that make up for a few lackluster tracks.”
Staff Ranking of “Brat and it is completely different but also brat”
#17. “I Might Say Something Stupid” (featuring The 1975 and John Hopkins)
By KARLEIGH YANCY/Managing Editor
I’d be lying if I said I had super high hopes for this remix. It’s admittedly one of my least favorite tracks on the original album. I wasn’t too enthused to hear Matty Healy pretend to have enough sense of introspection to muster an ounce of the self-deprecation and insecurity that Charli so bravely bears on the original version. In a way, I was right. Right out the gate, he comes in, mournfully waxing on how “He could say something smart.” I’m actually not entirely convinced of that idea! He goes on to moan about a lot of vague nonsense, never quite actually being honest with himself or the listener. I understand why my peers ranked this song so low.
However, something about this track captures my attention. The instrumentation during the first half which some of my contemporaries described as “torturous” came off cinematic and ambient to me. A quiet beginning amps into an energetic and chaotic spiral, and the entire experience reminds me of the ride home after a party where you made an absolute fool of yourself, playing back the most embarrassing moments and feeling like you might never speak to anyone you know ever again. While it doesn’t fit in at all with the rest of the album and Matty Healy’s additional verses drag the entire track down, I personally can’t help but loving this song, thanks to Jon Hopkins instrumentation and Charli’s general aura.
#16. “Spring Breakers” (featuring Kesha)
By LARRY BONILLA/Copy Editor
While ear piercing, blaring and bitter, the remix doesn’t differentiate itself enough from the original. “Spring Breakers” is Charli’s nod to her exclusion from reward shows—particularly the Grammys which I have historically shown criticism for. I think the message and execution of the original is brilliant; however, the remix doesn’t use its position to go anywhere special. If “Spring Breakers” is supposed to be an offensive and wrathful track, I think Charli can press further on that note and scare the Grammys. The inclusion of Kesha is certainly in line with that message, but I don’t think we are there yet.
#15. “Mean Girls” (featuring Julian Casablancas)
By SANTIAGO NUNEZ/Multimedia Editor
This is a weaker song on “Brat” and is turned completely feeble here. The plucky piano backing from the original is made pivotal in a stripped back instrumental, which doesn’t mesh well with either artist. The breakdown used for Julian Casablancas’ bridge and verse is more pleasant albeit still not great, given the lifeless vocal performances. I can’t help but feel both artists and A.G. Cook phoned this track in.
#14. “I Think About It All the Time” (featuring Bon Iver)
By Paulina Mata/Social Media Editor
This was one song that a remix didn’t feel necessary for. The original is one of the few somber tracks on “Brat,” reflecting Charli xcx’s feelings towards motherhood and her life being split between her career and personal aspirations. The verse trade off between Charli xcx and Bon Iver is conversational, as both explore the feeling of “running out of time” for their personal lives due to trying to keep up with their musical goals and careers. Sonically, Bon Iver’s lackluster performance almost kills the remix, and were it not for Charli xcx’s rearrangement and new verse, this remix would’ve been a dud.
#13. “360” (featuring Robyn and Yung Lean)
Written by LARRY BONILLA/Copy Editor
As a spirited and catchy opening track, this feature competes with the brilliant original. Much like its summer counterpart, this is certainly an introductory track with a playful air and—admittedly—acts as a very inoffensive contribution to the remix album. While in the original Charli divulges into her rise to fame, she shares the spotlight with two contemporaries, Swedish Cloud Rapper Yung Lean and Swedish Pop Singer Robyn. All three share their experiences in the industry. They share that they started their music career as teenagers and about who were their inspirations and models. While this remix of “360” is still anthemic and revelrous, I can’t say it is at a substantial caliber to choose it over the original. Despite that, I can certainly say “in my Elvis moment” when I listen to this version,
#12. “B2B” (featuring Tinashe)
By LARRY BONILLA/Copy Editor
The original “B2B” deviates from the remix counterpart. Much like how the original album’s “B2B” uses the back-to-back metaphor of DJing to explain a love triangle, the new one is completely recontextualized. In the new version, Charli is directly referring to her new found success; she says that she enjoys her success despite how much back and forth she has to do everyday. It is fitting that Charli invites Tinashe as she also received significant success this summer as well.
#11. “Von Dutch” (A. G. Cook remix; featuring Addison Rae)
By LARRY BONILLA/Copy Editor
It is hard to compete with the absolutely electric groove of the original “Von Dutch,” but I think this remix offers a substantial climatic high. There is a solidly definite hyperpop influence in the remix, and the Addison Rae feature brings one of the most infectious, thrilling screams in all of 2024. Staying true to the enviable-life motif of the original, Addison Rae references the hate and criticism of her debut single “Obsessed” and declares that her scrutinizers are only jealous on her success. Charli clearly aspires to elevate Rae’s music career and supports her, but it is hard to ride the Addison Rae-train from here. Yet, I will admit her contribution to the album elevates her from her TikTok influencer status. I also can’t lie that the charged up climax acts as the perfect track for anyone planning to hit the town.
#10. “Apple” (featuring The Japanese House)
By ELLIE VALLERY/Staff Writer
This is an upbeat indie pop song that originally went viral on social media over the summer. The remix sounds like a completely new song. The mellow lyrics changed the song, fitting the change of seasons. “Apple” is a perfect chill pop song with powerful lyric performance.
#9. “Rewind” (featuring Bladee)
By KARLEIGH YANCY/Managing Editor
I must confess, when I initially saw that Bladee was going to be a featured artist on this album, I was thrilled. I’m personally a fan of Bladee, and Rewind is one of my favorite tracks on Brat. I thought it would be an immediate favorite for me. However, I was shocked to find that for me, it fell a bit flat. Famously being quite a polarizing musician, I thought a feature from Bladee would be completely transformative of the original track, something totally out of left field. However, I felt that this remix felt a bit safe in comparison to the others. Granted, it’s not the same song with additional verses, (ex: 360; Girl, so confusing), but it’s not nearly as fresh and unique as some of the other remixes. It felt like the original song’s “underwater level,” and I just didn’t feel it improved upon the source material. That being said, it’s still a great song regardless. Bladee did bring some fun verses to the track, and instrumentally there were some cool choices made. (Part of the backing track is reversed! Fun!) Overall, I’d say it was an interesting attempt, and I would definitely be eager to hear more collaboration between Charli and Bladee in the future. Goodbye Brat summer, hello drain gang fall.
#8. “Sympathy Is a Knife” (featuring Ariana Grande)
By PAULINA MATA/Social Media Editor
With over 62 millions streams and the timeless message about being a woman in any industry, I found it hard to believe a remix would ever do the original “Sympathy is a knife” justice. The remix features Ariana Grande, who’s been under fire by the internet for her relationship status and appearance over the past year, was the best possible addition. The remix is a continuation of original’s message. Charli xcx, who had felt insecure in her “small” career now expands her insecurities from not being enough to the problems that have risen since her catapult into the spotlight of public scrutiny and opinion. Ariana Grande, who has also felt the harsh critique of online keyboard warriors, adds to Charli xcx’s testimony of how difficult being not only a public figure can be, but also a woman.
#7. “Talk Talk” (featuring Troye Sivan)
By PAULINA MATA/Social Media Editor
The remix is everything you’d expect from a Brat remix—a fun, pop song featuring some of Charli’s closest friends, Troye Sivan and Dua Lipa. It was released ahead of the remix album on Sept. 12. Whereas the original lyrics depict apprehension toward approaching someone you’re interested in, Sivan takes over in the remix with confrontational communication in his first verse. If there’s one thing that Charli XCX loves to do, it’s distorted repetition. I’m all for it, usually, but this song could practically be played backwards and it would sound the same. Sivan’s post-chorus had the potential to make a great moment toward the end of the song, but it’s early placement and repeated drop later on made it seem too gimmicky.
#6. “Club Classics” (featuring BB Trickz)
By LARRY BONILLA/Copy Editor
After this summer, one would be remiss to think Charli XCX won’t have a club music presence moving forward, so in this remix, she loudly befits herself as a club classic. Absolutely thrashing and pounding, this is a tantalizing remix with Spanish rapper BB trickz which advances the original song’s sentiment. As per the album’s self-referential flare, Charli XCX remixes Club Classics with 365, which is an already referential song as it remixes 360. The result is Club Classics at its most unrecognizable—potentially the most different song in this album compared to any its predecessors—and an absolutely brilliant cacophony of meta references. Charli XCX presses aggressively down on club motifs by integrating a jittery, shuffling UK-garage and dark, violent Grime sound. The inclusion of BB trickz is fitting; she brings a thrilling parallel yet with an equally rowdy, vulgar style. It is without a doubt that I can say that BB trickz and Charli XCX’s version of Club Classics is un clásico automático.
#5. “So I” (featuring A.G. Cook)
By KARLEIGH YANCY/Managing Editor
For those who are fans of SOPHIE, it’s hard to listen to the original album without thinking of her. A recent convert myself, I hadn’t dived into her work until after listening to the initial album. However, now that I have, I find it very hard to not hear her influence everywhere, even though it’s been four years since she passed. The original version is no exception; it’s a tribute to her work and art even when it’s not directly mentioning her by name. However, the track that is explicitly about her, “So I” is a stunning and soaring tribute detailing the grief Charli found in the passing of SOPHIE and trying to cope with the loss of her friend.
The remixed version of the song is just as touching and poignant, and with the addition of fellow friend and frequent SOPHIE collaborator, A.G. Cook, Charli creates a beautiful portrait of the relationship she shared with SOPHIE, no longer crying, but reflecting on the times they did share with a smile. A.G. and Charli don’t just put SOPHIE’s fingerprints into this song- they put her soul and her life into it. Packed with both lyrical and musical references, fans can hear interpolations and samples of SOPHIE’s work. Overall, it’s a gorgeous follow up to the original version, and a moving homage to a close friend, reminding us all- it’s okay to cry.
#4. “Guess” (featuring Billie Eilish)
By LARRY BONILLA/Copy Editor
Instantly a classic, the remix version of “Guess” is more recognizable than the playful original. Audacious and provocative, “Guess” is a bratty, sapphic interrogation. Charli XCX guesses what her fans, listeners and admirers are thinking about, and she spares no details. In “Guess,” she explicitly reclaims her autonomy. Furthermore, she famously invites Billie Eilish for her first feature. Considering that Eilish has faced boundary-breaking fans, the feature is fitting. Her hushed, seductive delivery brings a purring yet lascivious impression. Undoubtedly a track with a House flare, “Guess” is playful,
#3. “365” (featuring Shygirl)
By SANTIAGO NUNEZ/Multimedia Editor
Impressively improved upon the original, which is difficult considering it was already incredible. The reimagined track brings on club and hip hop artist Shygirl and sees the song fully embrace Charli xcx’s EDM side. The basslines are killer and the tight verses from both artists bring an incredibly fast paced and hypnotic experience to the two minute track. If it retained a lengthy outro, this song would be a quintessential musical high within the 2020s.
#2. “Everything is Romantic” (featuring Caroline Polachek)
By SANTIAGO NUNEZ/Multimedia Editor
Similar to “Girl, So Confusing” (featuring Lorde), this song combines two strong performances. Angelic vocals from Caroline Polachek are accompanied by Charli xcx’s vulnerable confessions, both highlighting the subtle and stripped back instrumental of this remix. The original message of hope within a chaotic world is tweaked, now being centering on the chaotic ups and downs of remaining hopeful. A sweet and melodic song that excels in highlighting the beauty of being human.
#1. “Girl, So Confusing” (featuring Lorde)
By ELLIE VALLERY/Staff Writer
yay ❤️
we = ate