AVA MAX - HEAVEN & HELL
America’s Ava Max popped into the mix with a dose of early 2010’s pop goodness, giving us colossal expectations for her debut body of work, Heaven & Hell. The record is the perfect example of the ‘if it’s not broke, why fix it’ mentality.
The top 40 charts for 2020 has been a mixed bag at most so far but we can say for sure that some pop queens have reigned over the ladder. The iconic collaboration between Lady Gaga and Ariana Grande made a 12-inch stiletto stab at the number one slot earlier in the year while the glowing Dua Lipa crushed the climb with multiple Future Nostalgia hits. Billie Eilish, Halsey and Camilla Cabello all etched their names into the mantel, which came as no surprise. America’s Ava Max popped into the mix with a dose of early 2010’s pop goodness on ‘Kings & Queens’ which set our shiny disco balls into a spin, giving us colossal expectations for her debut body of work, Heaven & Hell. She did not fail on this almighty collection.
Conceptually ‘Heaven & Hell’ is structured as two parts, as the name suggests. The clouds part to the shining gospel choir opening of ‘H.E.A.V.E.N’, a powerful entrance into her swirling world of contrasts where pop meets purity and is also acquainted with devilish grins. Declining down the leadership ladder, ‘Kings & Queens’ follows with it’s striking resemblance to a poker-faced Gaga moment. The track extends further back into nostalgia territory with some vibrant shades of Aqua swimming through, specifically ‘My Oh My’ and ‘Around The World’ territory not the ‘Barbie Girl’ cheese. ‘Naked’ further falls into the dreamy synth realm with crisp lines, airy chords and pillow soft beats whilst single, ‘OMG What’s Happening’ leans more into the disco arena.
Track by track Max descends into the darkness with the grace of a fallen angel. ‘Born to the Night’ and ‘Torn’ are the inconspicuous points of transition with their shifting energy and tone, a dusk shadow casting over the glorious sunshine. ‘Take You To Hell’, whilst taking the concept literally, is a standout on the album. Max’s vocal range and dynamic are undeniable (and fitting for the transition) and the space laser beam synths and rocket fire beats are perfectly understated alongside the delicate piano melodies but offer incredible impact.
Max’s use of ballad components against power chorus’ is striking and a consistent feature throughout Heaven & Hell. This is especially evident on the empowering anthem ‘So Am I’. Max finishes on the mammoth 2019 hit ‘Sweet But Psycho’, taking listeners on a smooth and joyous journey through the abyss.
This is not ground-breaking material. Is it riddled with references of our pop past? Absolutely! Does it extend on the limitations of what constitutes as pop music? Not really. But is it pop music done well? You betcha! Heaven & Hell is the perfect example of the ‘if it’s not broke, why fix it’ mentality.
Tammy Walters
★★★★☆