When you hear the name Charli XCX, the last thing you think about is classic literature and orchestral instrumentations. Your mind probably swings to sweaty dance floors and glittery electro-pop. But Charli XCX has proved her versatility with her boldest, most experimental album yet: a soundtrack album titled after the newly released, highly controversial “Wuthering Heights” adaptation.
Emerald Fennell, director of the new adaptation of Emily Brontë’s novel “Wuthering Heights” that came out Feb. 13, originally asked Charli XCX to commission one song for the film. But after a creative drought following her wildly successful album “Brat,” inspiration struck, and she opted to create an entire album for the film.
Most recently known for directing the salaciously scandalous “Saltburn,” Fennell has come under fire for her modern, erotic interpretation of the classic novel. While some viewers are revelling in the film’s passionate interpretation of Brontë’s work, a stampede of critics are upset with Fennel’s creative choices. Namely, the aspects of the adaptation under fire are white actor Jacob Elordi being cast as a character who is mixed race in the book (which is relevant to his plot) and the “unnecessary” sexualization of a period piece.
Controversy aside, I love the idea of a director working with a current artist, particularly one as experimental as Charli XCX, to create a modern soundtrack that contrasts with a classic story. This is where modernization and interpretation is done well—by adding complexity to the story, not changing its very basis.
As for the album itself, I was shocked to hear Charli XCX working with an orchestra. What do you mean she went from hyperpop “Brat” to singing over a cello in “Wuthering Heights?” I would never think she could pull off these more classical instruments, but she does it masterfully.
She opens the album with the TikTok-viral “House,” a collaboration with John Cale, former member of The Velvet Underground. Cale speaks ominously over a foreboding orchestration. Usually I don’t like spoken intros—I find them pretentious—but this one is done beautifully.
“House” is the perfect choice for the opening track; it signals to the listener that this is not a normal Charli XCX album. It sets the gothic tone for the rest of the album, with Charli XCX repeating “I think I’m gonna die in this house.” Originally hearing this song through TikTok, I hated it. It was so cringey when the line was taken out of context. But when paired with the spoken word introduction and the rest of the track, it makes so much more sense.
Another highlight on the album is the second single, “Chains of Love.” It features another incredible instrumental, bringing a theatricality to the album that fits perfectly into a soundtrack, making sense with its pairing with the film “Wuthering Heights.”
This track features the best lyricism on the album, but that’s not a hard title to attain. My biggest issue with Charli XCX has always been that her production is incredible, but her lyricism is mediocre. This album unfortunately continues that trend.
With lyrics like “Shattering like glass/It’s the breaking of my heart/The chains of love are cruel” on “Chains of Love,” I know she is capable of more profound lyricism. But she can’t seem to escape making songs with the same three or four lines that repeat throughout the track, such as the repeated lines on “My Reminder” of “You’re always my reminder/Of where I started from/You’re always my reminder/I’ll never prove you wrong.”
Another track that highlights her poor lyricism is “Altars,” which doesn’t have as much of a repetition problem, but the lyrics still suck. She sings “One is not the loneliest number,” a concept that would be much better communicated in a subtle, metaphorical manner instead of the unsuccessful simplicity she is attempting. Simplicity worked well on “Brat,” but when partnered with such classical instruments, I need more complex storytelling to make the album feel completely cohesive.
Lyrics aside, Charli XCX’s poor writing doesn’t hinder me from enjoying the album. The instrumentations are just so good, they can almost overshadow the bad lyrics. The best part of the album “Wuthering Heights” is its points of theatricality. It really works well as a soundtrack album.
I wasn’t particularly inclined to watch “Wuthering Heights” in theaters after discussions of all its controversy, but my love for this soundtrack album just may convince me to buy a ticket.
