of the club-focused energy that made her previous album such a phenomenon for distorted guitars, experimental pop, and awkward, sometimes fascinating alternative-rock arrangements. Rather than trying to recreate the same formula, Charli sounds interested in exploring what happens when she steps outside her usual comfort zone. The result is a strange and occasionally uneven record that combines familiar pop instincts with clunky rhythms, washed-out vocals, and some genuinely interesting production choices. I rated Brat highly for its infectious beats and ability to keep the energy flowing, so this change of direction is noticeable. Not every experiment works, but there's enough personality here to make the album worth exploring.

“Rock Music” opens with digital synths and Charli's mid-range vocals, while distant guitars gradually emerge in the background. When she repeats the title, the production becomes glitchier, introducing distant drums and a simple, low bassline. Unfortunately, the track feels surprisingly flat for an artist known for making electronic music sound immediate and exciting. The guitars finally take a more prominent role near the end, but the moment disappears almost as quickly as it arrives. It's an unusual opener that establishes the album's colder atmosphere, although I wanted it to commit more fully to its heavier ideas. “SS26” is a considerable improvement, building around soft synths, whispered vocals, and simple guitar strumming that gives the production a much fuller sound. Even during the quieter passages, the arrangement feels more complete, and Charli's delicate performance suits the reflective mood. The bass initially sits further back before adding more weight later, while the production allows the different elements to breathe. It's an excellent example of how subtle instrumentation can still create a compelling song.

“Card Declined” brings in distorted, metallic-sounding guitars that give the track a rougher edge, contrasting with Charli's soft, almost monotone delivery. The drums remain simple and steady, while occasional bass passages and strange backing sounds add personality. It's a stripped-down arrangement, but the unusual guitar tones make it interesting enough to hold attention. “Camera” pushes the experimentation further with glitchy guitars, deep, hollow kick drums, and some genuinely funky rhythmic choices. This is the kind of weird, unpredictable production I was hoping to hear more of. The arrangement feels clunky at times, with its awkward rhythmic shifts and unusual combinations of sounds, but that also gives it life. As the song progresses, the synths and guitars expand into something brighter and more explosive. Charli's softer vocals sit comfortably within the mix, allowing the instrumental details to carry much of the song's personality.

“2007” shifts toward a more sensual pop sound, with string-like guitars and a vocal delivery that recalls some of Charli's earlier work. There's an intriguing familiarity to the beat, and the possibility that she is revisiting elements of her own musical history adds another layer of interest. The bass and drums remain relatively simple, while distant, distorted guitar tones give the arrangement a wistful edge. “I'm Afraid” takes a more openly melancholic direction, opening with soft acoustic guitars and deep bass. Charli's gentle vocals gradually expand into layered harmonies, creating a feeling of genuine sadness. The low end gives the track considerable emotional weight, and the short runtime works in its favor by keeping the song focused. “Yeah” introduces a more garage-rock feel through stiff drums and distant, twangy guitars. The arrangement initially sounds restrained, but when the bass and synths arrive together, the song becomes considerably fuller. Its slower, heavier passages and distorted electronic textures provide an enjoyable contrast to the softer material.

“Wink Wink” keeps the arrangement short and direct, combining deep synths with gentle guitar strumming and a deliberately provocative lyrical approach. Some lines are outrageous enough to make you laugh, but the production gradually builds through plucky drums and fuller guitar textures. Its brevity is a strength, avoiding the drawn-out structures that occasionally affect other songs. “Persona” moves back toward distorted, low-end guitar work, with thick, funky bass and layered vocals that sound particularly effective when Charli becomes more forceful. The guitar tones are rough around the edges, but they give the song a heavier alternative-rock identity. “Magic Metal Montana” then brings more energy through faster drumming, deep distorted riffs, and lively synths. Charli's vocals remain clear and well balanced rather than getting lost beneath the instrumentation, and the combination of electronic hooks and heavier guitar work gives the track an appealing sense of momentum.

The album closes with “No One Lasts Forever,” featuring filmmaker David Cronenberg. The track begins with an awkward, distorted beat that almost resembles a skipping record before airy synths create a more spacious atmosphere. Charli's vocals sound strong against the sparse electronic arrangement, and Cronenberg's spoken contribution adds another unusual texture. The repeated lines about people being dead, gone, and ultimately unable to last forever give the song a surprisingly dark, honest quality. It's a fitting ending for an album concerned with identity, fame, and the strange relationship between public image and personal reality.

Music, Fashion, Film doesn't have the immediate, all-night dance-floor appeal of Brat, but it offers a different kind of reward. The album's best moments come when Charli embraces the odd guitar tones, glitchy electronics, and imperfect arrangements instead of holding back. “SS26,” “Camera,” “I'm Afraid,” and “No One Lasts Forever” demonstrate how effective this new direction can be, while “Rock Music” feels like an idea that never fully develops. Some tracks are uneven, and the colder production occasionally makes the album feel less engaging than it should. Still, Charli deserves credit for resisting the temptation to repeat her biggest success. This is an experimental, occasionally awkward, but often compelling record from an artist willing to make herself uncomfortable rather than simply deliver another Brat.