The evolution of Poppy has been an intriguing one. From debuting as a viral android art project through to her expansive genre-smashing discography. Along the way, she’s embraced bubblegum pop, ambient, synth-pop, and electronica, yet it’s considerably her flourishes into metal where she’s succeeded.
Sparked by 2018’s ‘X’ crushing foray into heavy metal, 2020’s ‘I Disagree’ doubled down taking a confident pop-metal route with impressive results. Its 2021 follow-up, ‘Flux’, leaned into a streamlined rock before last year’s ‘Zig’ diverted into electronica. No matter what she produces, it’s clear Poppy does it with ease and finesse. And if anything, she’s certainly productive with ‘Negative Spaces’ serving as her fourth album in five years, with a handful of EPs and a soundtrack scattered in between.
‘Negative Spaces’ is considerably the album that could define Poppy. At its core is an artist who’s creatively thriving, utilising her vulnerability to create lyrically raw songs. ‘Have You Had Enough?’ and ‘The Cost of Giving Up’ stylistically set the tone early as Poppy’s gliding melodies (and occasional screams) are supported by hulking slabs of crushing metalcore. Yet ‘They’re All Around Us’ bulldozes through with complete and utter disregard.
‘crystallized’ pulsates with a helplessly infectious 80s synth-pop vibe yet sees Poppy experience inner turmoil, expressing a need to never be alone again. Looking for purpose and acceptance, whether that be by God or a man coming through the speaker. It’s a mindset that continues on ‘Vital’. Sheltered by its solid rock ballad cloud, it sees her fight her way out of a “vicious cycle”.
While its pre-release singles ‘They’re All Around Us’ and The Cost of Giving Up’ gave some the impression that this was to be Poppy‘s “metalcore” album, that’s not entirely the case. Sure, there are distorted blasts such as ‘nothing’ and ‘the center’s falling out’ but in contrast, there’s a clear willingness to maintain her genre-fluid approach. Alongside the aforementioned ‘crystallized’, there’s ‘push’s blend of euphoric trance and pounding dance-rock. Whereas ‘yesterday’, ‘hey there’ and ‘tomorrow’ serve as experimental and serene interludes that maintain the fragile conscious.
The title track allows her to stride with confidence. Complemented by carefree “wo-oh”s, it’s a bold, stomping and straight-up catchy rock number with plenty of longevity. ‘new way out’ is a late highlight, partly thanks to its industrial march, rising chorus, and crushing breakdowns.
Poppy‘s journey comes to ahead with ‘halo’. After confessing her purpose isn’t just for her on ‘tomorrow’, ‘halo’ succulently breezes in with sliding guitars and a steady tempo. As it builds, you get a sense that Poppy has found comfort in who she is, ending the album on an optimistic high.
On the evidence of ‘Negative Spaces’, it’s clear that Poppy has come into her own, solidifying her position as an authentic artist. The combination of its introspective narrative and simultaneous tonal shifts makes ‘Narrative Spaces’ her most engaging album so far. Furthermore, when paired with the production work of Jordan Fish (ex-Bring Me the Horizon), you’re left with a sonic juggernaut that is bold and, for the most part, cohesive.
‘Negative Spaces‘ by Poppy is released on 15th November on Sumerian Records (order/stream here).
