\u201cRoommates,\u201d<\/a> life has been life-ing, for sure.\u00a0<\/p>\n\n\tDuff has said she felt comfortable laying herself bare on Luck\u2026or Something <\/em>as she worked alongside Koma, who co-produced the entire record. Even with her husband behind the boards \u2014 or maybe because he\u2019s there \u2014 Duff relentlessly shares the insecurities that come with married life. On the pulsating cut \u201cHoliday Party\u201d she details a recurring cheating nightmare, while the slow rocker \u201cYou, From the Honeymoon\u201d is a daydream about days \u201cbefore you knew a hand-slap across the face.\u201d On the propulsive \u201cRoommates,\u201d Duff fine-tunes her fears and desires in the face of shifting realities: \u201cI only want the beginning\/I don\u2019t want the end,\u201d she admits atop Koma\u2019s expertly crafted beats.<\/p>\n\n
\n\n
\n
\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div>\n<\/figcaption><\/figure>\n<\/div>\n\n\tThose aren\u2019t the only topics that this former child star treats with sobering candor on this album. \u201cI wish I could sleep on planes\/And that my father would really love me,\u201d she confesses on the pensive highlight \u201cThe Optimist.\u201d It\u2019s her most vulnerable song to date, and it leaves a chilly sting. Meanwhile, \u201cWe Don\u2019t Talk\u201d portrays another familial rift, this time with Duff\u2019s sister, Haylie. \u201cWe don\u2019t talk about anything anymore,\u201d the younger Duff sings on the eerie chorus, which seems to echo the distinct xylophone whistles from Gotye\u2019s \u201cSomebody I Used to Know,\u201d even if they\u2019re not quite close enough to be credited on the track.<\/p>\n\n\n \t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n
\n\tDespite what the internet hoped for, Duff doesn\u2019t anoint herself as a savior of millennial pop music with Luck \u2026 or Something<\/em>. Instead, the album is a seamless blend of the singer\u2019s specific tastes, millennial-coded and otherwise. \u201cGrowing Up\u201d interpolates Blink-182\u2019s \u201cDammit\u201d for an ode to a ride-or-die friend; elsewhere, she name-drops some of her more recent influences, like the Japanese House. <\/strong>It\u2019s the most self-assured Duff has ever sounded, especially as she quips about \u201csome bitch at a bar\u201d who pronounces indie icon Bon Iver as \u201cBon Ivar.\u201d<\/p>\n\n\n \t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n
\n\tOverall, the album is dominated by swooping pop synths that shimmer and sparkle with the same relentless optimism you probably remember from Duff\u2019s early hits. Give credit for that to Koma, a pop architect in his own right whose r\u00e9sum\u00e9 includes a scatter of brightly-hued tracks in the mid-2010s, including a co-write credit on Zedd\u2019s 2012 hit \u201cClarity,\u201d production credits on Shania Twain\u2019s 2017 comeback Now<\/em>, and even a Britney Spears single. Like Duff, Koma seems to have found the perfect home for his sunny melodies with his wife.<\/p>\n\n\tBy the end of\u00a0 Luck\u2026or Something<\/em>, the wine bottle is empty and the wistfulness is at an all-time high as Duff cements her new millennial soundtrack with \u201cAdult Size Medium.\u201d She conjures the ephemera of one\u2019s early twenties against big-swing synths, and faces the aching distance from that era. \u201cNobody runs faster than time,\u201d Duff sings, but makes sure to remind her audience: \u201cIt\u2019s heartbreaking and<\/em> reassuring.\u201d<\/p>\n<\/div>\nSource link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"In the early 2000s, Hilary Duff soundtracked the era of butterfly clips and Laguna Beach for a whole generation of tweens and teens. Now,…<\/p>\n","protected":false},"author":5,"featured_media":58538,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-58537","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/58537","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=58537"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/58537\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/58538"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=58537"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=58537"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=58537"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}