Album Review: Trouble In Paradise by Chlöe
Chlöe's talent is undeniable, as shown by her sister duo; however, her second album in a year is once again hindered by inconsistent flow and uninspired songwriting in spots.
Chlöe’s career is at a crossroads. With her sloppy debut album released last year, In Pieces offers a series of glimpses into her tumultuous relationship journey, exploring the intricate balance between emotional, sexual, and romantic desires. The album opens with “Someone’s Calling (Chlöe),” a reimagining of a 1927 jazz standard complemented by portentous, choir-like background vocals. This is followed by the dramatic blend of sacred and secular sounds in the lead single, “Pray It Away,” which tackles themes of vengeance. Throughout the album, there is a noticeable thread of gospel influences that Chlöe seems to overlook largely. Had she drawn more deeply from her own spiritual and musical connections to the gospel with better writing, the album could have offered a far richer and more compelling exploration of her inner conflicts and desires—unfortunately, the gifted vocalist resorts to rather simplistic songwriting, resulting in an underwhelming final product, which includes the overrated “Body Do.”
What’s most striking about Trouble in Paradise is that it fully demonstrates Chlöe’s strength as a singing queen, and sonically, it’s better than the debut, no doubt. Unfortunately, much of the material, like In Pieces, feels hollow, incohesive, unfocused, and unrecognizable. Internet trolls have criticized her while questioning her musical direction. “FYS” sounds like every cut-and-paste mainstream moody R&B song you’ve heard from the past decade, which is frustrating, knowing what she can do talent-wise. After she released the uptempo pop/rock second single, “Boy Bye,” in April, one user on Twitter implored her to “return to real R&B” and suggested that she was pandering to white audiences. Unfortunately, it doesn’t help that her delivery doesn’t pack a punch, and the hook is no better than screaming, “YOU STUPID MUHFUCKA” and “GO CRY TO YA MAMUH.”
There’s no clear direction on this album while it goes from one sound to another. Outside of “Boy Bye,” the SG Lewis and Yeti Beats-produced “Strawberry Lemonade” is another knock-off of Doja Cat’s “Say So” that does absolutely no favors. The closing track, “Somebody,” is another Pop attempt song that doesn’t end the album; it’s just there to take up space, and “Rose” is just another “FYS” sequel. Jeremih appears on “Shake,” which was teased for almost a year. It is another flat Jersey Club attempt where the chemistry is nonexistent, and it’s frustrating because it has the potential to go somewhere but ends up falling flat. The same can also be said of Anderson .Paak-featured “Favorite” as the former sounds uninspired as we don’t typically hear as BongoByTheWay (who provides the chunk of the album) delivers a horn-heavy song.
Look no further to hearing more Afrobeat/dancehall attempts on an R&B album that’s been plaguing the mainstream for some years. “Never Let You Go” with YG Marley is another carefree song that the pairing makes it one of the better songs on the record, and “Redemption” explores themes of forgiveness, disillusionment, and relational dynamics, but the dancehall-produced number is so short that an ‘interlude’ ends up being forgettable. “All I Got (Free Falling)” starts off the 16-track release with piano and strings, with rain effects in the background, before switches things up for the latter half (with Fridayy harmonizing with Chlöe) with a progressing uptempo Afrobeat that bizarrely came out of nowhere that doesn’t transition smoothly into the Ty Dolla $ign-show stealing “Might As Well.”
The positive attributes of Trouble In Paradise come from another Afrobeat-infused “Temporary Single,” which interpolates Tyrese’s “Lately.” Chlöe sounds great as she sings in her lower register before unleashing her incredible vocals, which give off a Toni Braxton-esque tone but work wonders, as she offers candid scrutiny into the complexities of modern relationships and the liberation, found within temporary singlehood. Although “Same Lingerie” has this plotting moody beat, Chlöe’s charisma shines the brightest here, just like “Nice Girls Finish Last,” as it sounds like it’s plucked from the Timbaland tree. She reunites with her sister, Halle Bailey (even though underutilized), on “Want Me,” and this further proves that the duo’s chemistry is top-tier as we still await their untitled third album.
As you can see, while talking about how good Chlöe sounds in these songs, the songwriting and certain hooks still leave much to be desired. This is the hook on “Rose:”
Man, fuck them flowers, get my rose (Ooh, yeah)
I can get that on my own (Oh yeah)
Fuck them flowers, charge my rose (Ooh, yeah)
I’m becomin’ all alone (Oh yeah)
‘Cause I never met a nigga that could love me
Like you love me
So fuck them flowers, charge my rose (Ooh, yeah)
I’ma get that on my own (Oh yeah)
Going back to “Strawberry Lemonade,” her pussy is juicy and “I’ma squeeze it tight” is so cliché that you heard it so many times in modern R&B. In order for her to stand out from the crowd, she will have to make the digital fans online support her behind fake love with the likes by pairing up with the right songwriter and producer with the best interest at heart, rather than making disposable songs that’ll be left out to dry by this weekend. Bongo does what he needs to do production-wise, as shown in “Moments.” However, something’s missing (*ahem* bridge *ahem*) to take it to another level.
Most sophomore projects showcase artists as their authentic selves, regardless of the label behind the release. However, Trouble In Paradise falls short, coming across more as a calculated rebranding effort for Chlöe than a genuine expression of her songwriting. Throughout the album, Chlöe embraces the carefree persona that she wants to have fun (and for someone who wants more for her, I understand the goal here), a role she insists reflects her true identity. Yet, it remains to be seen whether she can successfully shed her previous image or if her music is compelling enough to set herself apart from the rest. At present, Chloe’s self-proclaimed identity feels unconvincing on record, suggesting she is still striving to demonstrate the creativity necessary to establish herself as a solo artist.
Above Average (★★★☆☆)
Favorite Track(s): “Temporary Single,” “Want Me,” “Nice Girls Finish Last”