It’s been a couple of weeks of speculation about what will happen to the creative process when AI gets more and more developed, and the answer could be that we’ll get a lot of music that sounds like leave me where you found me by iann dior Released just over a year ago since achieving decent success in the wake of No. 1 single “Mood” by leaning more into his pop-punk side and joining Travis Barker’s crew, Dior’s third studio album could just be the bait. Most blatantly shameless TikTok. I’ve ever seen, and it leaves the listener with almost nothing in the way of substance. With 12 tracks and a length of just 26 minutes, there are only three songs here hovering around the three-minute mark, the rest struggling to make it to two. Bringing back some of the trap beats and continuing with some emo-rap tunes that can make you nod in the moment due to its strict adherence to tried-and-true formulas, but ultimately become instantly forgettable, this one might be the most inconsequential big topic. release of the year for music fans, but I’m sure Dior won’t care about the reviews when a 16-year-old inevitably sends one of these songs into the stratosphere while playing in the background of a stolen meme.
Seemingly inspired by Yeat and Playboi Carti-esque Gen-Z instant gratification, “my turn” kicks off on the second with bright, cartoony, rage-beat synths in the back, as Dior apparently pays absolutely no attention to them with an incongruous rhythm. free melody. A standard trap beat eventually anchors things a bit more, but Dior still delivers tired lyrics about Pateks and the like while sounding completely nonchalant. It really used to have a uniquely refreshing tone and approach that made almost everything he played catchy, but it’s been reduced to auto-tuned howls over the phone. “do it all” opens with a digitized rock beat and a punkier angle, but it’s the shortest track here and is essentially nothing at all outside of a single brief chorus repeated twice. It’s strange that a song this short has a random, energy-killing, self-indulgent falsetto in the middle, but this one makes it happen. Elsewhere, it’s clear Dior doesn’t care about anything beyond a tiny snippet of sound: verses throughout the project sound like drunken ramblings, and sometimes the chorus is a plaintive wail anyway, as in the song “make it right”
Track “10×3” is the kind of song with a mostly bland frame on the surface, but one that would have been raised a notch with just a small ounce of charisma. With some catchy, repeatable lyrics and one of the most interesting beats on here, it sounds like it’s coming from a The legend of Zelda Play: Dior descends on the runway to a sleepy, one-note tune that does nothing to serve them up. The man who was once all about melodies is now issuing them from a track that he really could have used. It’s really weird that he’s turned into a below-average regular Gen-Z rapper in this case — it sounds like the worst Swae Lee songs most of the time. “do or die”, hilariously, has the equivalent of those movie trailers or YouTube videos that put the most exciting part first as an attention-grabbing preview. In a 97 second song, that’s a pretty sad indictment of society. The song “myself” sees Dior deliver the chorus in a barely perceptible baby voice, with some lower parts in case that’s what’s going on rather than a sped-up version.
The next two tracks find Dior doing horrible impersonations of two separate “little” rappers. The punchy, rising, and intended-to-be-thrilling melody on “crack another seal” resembles a bad Lil Uzi Vert song, as Dior curiously still doesn’t understand how to end things or make a melody satisfyingly resolved. in this project: the number of moments where almost nothing happens on the tracks, this short is nothing short of infuriating. “Start Over,” on the other hand, finds him doing the same kind of layering and pop-rock groove as a bad Lil Nas X tune. It’s the first with respectable length here, but without the heart and emotion behind it, it does not translate. Top producer Nick Mira provides a “catch up” beat, with some interesting elements of unique synth tones fading in and out, but Dior has no idea how to use them; he just attacks this like every other song on here.
Framing another copy-paste pop-punk song into “bundle,” Dior actually saves the only two fleshed-out, decently paced, structured tracks on the album for last. “Memory Lane” still has some terrible harmonies and vocal tone throughout, but the rhythmically stuttering middle hook is at least an attention-grabbing decision and there’s just enough construction to make it effective. After some sad acoustics and reminiscences, it ends with some electronic twists on the melody. The closing track “Sweetest Demon” is even more successful because it’s the only track where it sounds like Dior cares, as a certain emotion creeps into his voice as he processes a breakup. Without a doubt, it is the one that most resembles his previous production.
It seems that instead of being one of its leading innovators as it seemed he might be, iann dior will be remembered as one of those artists who are born with a trend and will die with the trend too. Unless I’m wrong and the length of the tracks and the overall ChatGPT vibe of the album are a sign of things to come, in which case, we’re doomed.
Favorite Tracks: Sweetest Devil, Memory Lane
Least Favorite Track: Get It Right