Dominic Harrison aka Yungblud is considered by some the last rock star on the planet, a sort of pan-liberal, glammed out pop punker (one song here features crown Princess of pop punk Willow Smith) who seems close to breaking the States (he is already loved in NYC). A social media maven pace Tik-Tok and a cult figure for his fanbase who looks like The Cure’s Robert Smith meets Ronald McDonald (literally here), Yungblud seems a peripheral take on rock stardom, he looks as smudgy and damaged as Courtney Love after a crying jag of intense proportions.
If emotional damage is a valid expression of teenage angst (he is 25 but still market share is market share), Yungblud feels his pain on his eponymous third album. his inclusive worries on gender confusion (if not disillusion) and questions of masculinity abounds (on the album closer “The Boy In The Black Dress”), love is the drug works out from an obvious pun “Sweet Heroine”, and uncasual sex with everyone.
The album opens with the two singles and the two best songs, “The Funeral”‘s motorized T-Rex-ing and The Cure sampling “Tissues”. The third song is the first sign of weakness, the Willow featured “Memories” is stolen under his nose.
From there it gets mired into preachy whateverisms for the rest of the album, “Sex Not Violence” is brutal but not in the way you hope it is, and it falls apart on its tempo swings and claim of “I’m a mess for your amusement”. Elsewhere, everything is monochrome pop punk and banger singalongs to complete bummers like “Don’t Go”.
None of this will really do. It beggars the imagination that Dominic is a serious contender and not a cosplayer and while two songs here are worth the while, that isn’t nearly enough. It is like casual sex with none of the pleasure.
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