GutterPutter

The 2020s is shaping up to be the reckoning for Kesha Sebert. Around 15 years ago, she is known to be one of the most recognisable names in pop music with smash hits like ‘Tik Tok’ in 2010, 2012’s ‘Die Young’, and ‘Timber’ with Armando “Pitbull” Pérez a year after (which is carried almost exclusively by the harmonica). Her success which sprouted in her early twenties does however leave her vulnerable to exploitations of industry figures like Łukasz ‘Dr Luke’ Gottwald. This culminated in her lawsuit against him for abuse of several kinds in 2014 which lasted for nearly a decade before it got resolved with an undisclosed settlement in 2023. This became the defining part of her life that even eclipses her record-smashing album in 2017’s Rainbow. 

All the while, Dr Luke continues to work with both trending female artists like Amana ‘Doja Cat’ Dlamini and long-time stars like Katy Perry. The rage and the fury culminates in 2023’s Gag Order, released a month before the settlement, which is inspired by the frustrations felt at the lack of progress with the lawsuit. It received positive remarks from publications including this one (if you count the blogosphere) even if I don’t personally find it to be a complete masterpiece. What makes the listen compelling however is that its drive for experimentation even if it might not be as extensive as the likes of Magdalena Bay. In the next two years that followed, the change in the wind was further compounded by her departure from RCA Records (specifically Dr Luke’s Kemosabe Records which is the implant) for her own in Kesha Records. 

Enter 2025. . (We’ll go with Period to refer to the album) is Kesha’s latest record. It aims to not only build on the aspirations for diversifying the tunes in Gag Order, but it also mends itself to her signature dance-pop genre of choice. It’s by no means an easy move as I find the last album’s downfall to be based largely on what appears to be an abundant range of fillers that doesn’t add to the broad theme of sexism or creative inspirations. It feels like it’s just there. Period tries to make it front and center on the other hand and this decision makes it come off as more cohesive without any serious emotional whiplash. 

Three particular tracks that are worth highlighting the album’s turn towards dance-pop – and even more – would be: ‘JOYRIDE.’, with its accordion and grandiose chorus where the song title is uttered in an epic, choir-like fashion to emphasise the newfound liberty of self-expression and self-love; ‘RED FLAG.’, in which the pop rock and the house influences mix together to make a subversively “trashy” anti-love song about how exciting dysfunctional relationships can be; and ‘BOY CRAZY.’, where the upbeat drum pattern and bouncy synths adds a hyperactive impression to the song’s focus on dating all kinds of men regardless of the preferences.  There’s a clear kitschy kind of focus within Period that could either make or break the entire record and it’s mostly to do with the production. It’s clear that Kesha seemed to hone in on the style from a decade ago with its overt electronic influences, open autotune, and more hip hop-induced percussion and flip it on its head. The result of which being a mostly mixed affair. 

‘YIPPEE-KI-YAY.’ throws in the acoustic kick from country pop with a rapping verse from featured ex-star T-Pain and the holler-and-clap rhythm that is common in a lot of the commercially big indie pop songs back in the 2010s. The melody from Kesha’s singing is complimentary, but the song as a whole feels too bloated from its mashing of genres. ‘GLOW.’ goes hard on the clap-like percussion but its multiple layers of different vocal effects softens the impact of the music even if it isn’t as extreme as your average hyperpop track. Lastly, ‘LOVE FOREVER.’ ramps up the funky use of bass and Disco’s syncopated rhythm for its more idealised depiction of romantic love. This struggled to hold however in the face of the awkward backing vocals which tried to sing out the chorus which ruined the catchy, if bordering on annoying, melodia from Kesha. A lot of the time, it is this diversification which pushes out the potential highs rather than pulls it into the spotlight.

However, Period’s flirtations with its maximalist aspirations does pay off in the other tracks where the kitschiness is not only continued to play with, but it excels from the result. ‘THE ONE.’ is certainly a throwback to Kesha’s breakthrough back in the early 2010s with the bombastic, if dated, production. It is the trumpets that toots throughout which gives the track its life and the autotune in the bridge section that makes the corniness more welcoming than cringey in its presence. ‘DELUSIONAL.’ sees the vocals get vocalised a lot to the point of being nearly indistinguishable from the twinkly shifting tones of the synths which makes for a surprisingly beautiful effect. You have the ending track in ‘CATHEDRAL.’ where the piano would have made it too melodramatic before the vocalising in the end steers it into complete catharsis which is almost on course with Imogen Heap. 

And then you have the penultimate track in ‘TOO HARD.’ where the Nu-Disco impression is at its most apparent – and its synth aspects at its punchiest. The way that it blends with the reverbs from the singing makes for an infectious synergy that makes for a subtle punch that stands with ‘FREEDOM.’ The latter in particular sticks out as the definite gem for how epic of a deep cut it is with its gospel choir for the chorus which crosses over with overt disco rhythm, a bit of minimal ambient pop for the first third, a snappy bassline, and even a bass-boost of the post-chorus for a bit of a small jumpscare. It’s extravagant in all its glory to the point where you would wish for Kesha to go all-out like Lady Gaga. 

Fuelled by its excesses from the diva’s freedom from corporate record labels, Period will be feasted on by fans of the artist for sure. It might not be one that I am a big fan of, but it sticks out slightly over Gag Order for its more notable sense of cohesion on top of still keeping some of its creative liberties. Aside from Kesha-heads, I would imagine fans of either Charli XCX or even 100 gecs to get into the artist for her audaciousness even if it might not reach the same extent comparatively nor does its execution fare out as consistently well. Will it win them over hard? Unlikely, but it’s very much the thought that counts.

3.6/5