Katy Perry, 28, has spoken of exploring “darker” moods on her fourth album – and the first since the end of her marriage to comedian Russell Brand.
But anyone expecting her to start wallowing in angst-ridden introspection is in for a surprise.
Prism occasionally embraces softer, more mature styles than we’d expect from Perry, but it is still largely business as usual for the queen of bubblegum pop.
Working again with Dr Luke and Max Martin, she is in her element as she veers energetically between electronic dance and R&B.
The single Roar sets an up- beat tone. A chart-topper, it is a precision-crafted empowerment anthem in the mould of 2010’s Firework. The buoyant tone is maintained on Dark Horse, and the sunny This Is How We Do – nodding towards modern urban styles.
When they do arrive, even Katy’s more reflective moments are accompanied by shimmering pop rhythms. I don’t negotiate with insecurities, they are going to have to take a back seat, she sings on Love Me, although the dominating mood remains chipper.
Any references to current beau, singer John Mayer, are subtle. Double Rainbow, a ballad co-written with Australian Sia Furler, is a breathless celebration of new romance. Unconditionally is an accomplished love song.
This is Perry, one of pop’s most convincing princesses, doing what she does best.
•With his new album, James Blunt sets out to recapture the brooding quality of his break-through hit, You’re Beautiful.
To that end, he hooked up with his original producer Tom Rothrock, as well as his old landlady – actress Carrie Fisher – lodging at her Beverly Hills home, as he did 10 years ago when making his debut album Back to Bedlam.
The result is Moon Landing that puts the emphasis back on Blunt’s choirboy voice and confessional lyrics. Drawn to the searing self-examination of singers like the late Elliott Smith, he lays his emotions bare on Always Hate Me.
The record has a stark, simple feel, but the 11 songs have not been stripped to the bone: the arena-sized chorus of Satellites harks back to Peter Gabriel-era Genesis.
The highlight is the heroic Miss America. Inspired by the death of Whitney Houston, it’s a Seventies-tinged rock ballad that sounds like Blunt’s answer to Elton John’s Candle in the Wind.
In going back to basics, Blunt has come up with his strongest set of songs yet. – Daily Mail