Another high concept approach can’t hide the fact that Halsey’s voice seems a little lost on ‘hopeless fountain kingdom’, her second album. This is a break up record set in a world inspired by ‘Romeo and Juliet’, yet the singer’s ideas seem to have been smothered by input from a long list of big name producers and writers.
Her debut, ‘Badlands’, told tales from a futuristic, post-apocalyptic desert city that was a parallel for a young woman’s first experiences in the music industry. It was also an industrial-tinged synth-pop record about broken relationships and dark emotions, where tracks such as New Americana and Castle showed Halsey’s to be a bold and authentic voice that appealed to the Tumblr demographic that helped her fanbase to grow.
‘hopeless fountain kingdom’ explores the breakdown of a relationship and uses the classic tale of star-cross'd lovers to communicate the melodrama of young love, where all emotions feel epic. The record opens with Halsey reading the prologue to the Shakespearean tragedy, which is its most explicit reference to the play.
Like ‘Badlands’, the rest of the tracks hang loosely around the concept, mostly focusing on dissolute nights, broken relationships, sexual connections and mental health.
100 Letters tells the story of a relationship from start to finish, fittingly giving the ending away at the beginning. Heaven in Hiding, meanwhile, details an explicit encounter at a party, just like the one where Romeo and Juliet first meet.
‘hopeless fountain kingdom’ has a much wider sonic palette than its predecessor, due in part to some heavyweights getting on board. For example, Eyes Closed’s melody was written with The Weeknd, Sia Furler chimed in on Devil in Me, Brittany “Starrah” Hazzard, who has worked with Rihanna, Drake and Katy Perry, was involved in Now or Never and Cashmere Cat produced the album’s closer, Hopeless.
It’s a little too easy to come away from these tracks thinking about other artists rather than Halsey. Other songs, namely those created with Greg Kurstin and Benny Blanco, feel more like Halsey trying on different styles: gospel, piano ballad, ‘90s RnB, hip-hop.
But ‘hopeless fountain kingdom’ also has stronger moments than anything on ‘Badlands’, including Strangers, a catchy synth-pop track about a bisexual relationship. None of them feel like a breakout hit single, though, despite the more commercial sound.
Halsey’s had a smash with Closer, her Chainsmokers collaboration, but has yet to have a one of her own. Right now that doesn’t seem to matter. Her debut rose close to the summit of charts worldwide without a ubiquitous single to do the heavy lifting and Halsey is very much on her way to being a household name. Yet ‘hopeless fountain kingdom’ is another pop record that skews alternative and asks the question: will Halsey lose those rough edges in pursuit of the next level?
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