![]() Lady Gaga struggled a bit to carry off such a major pop-to-rock volte-face on Born This Way, but one of the theories about why Katy Perry is doing so well has something to do with her propensity for guitars. Its dynamics seem to be targeting some notional American heartland at least 30 years older than 1D's fanbase. And yet that doesn't quite prepare you for the extended soft-rock passages, the Joan Jett-ish thrust of Zayn Malik's Does He Know? or the sheer Van Halen-like bombast of the title track, one of two touring-band anthems ("Way too many people in the Addison Lee!"). The band forecast that Midnight Memories would be "rockier" than their previous efforts, which have largely cleaved fairly close to the bright'n'breezy Swedish school of pop-plus-doe-eyed balladry. (And what does Louis Tomlinson actually mean when, on Happily, he asks his ex whether her new boyfriend "feels his traces" in her hair?)Īdmitting the existence of sex is not the only overt sign of looming maturity on One Direction's third album in three heady years, one that looks certain to cement them as a global phenomenon. Poodle-rock guitars complete the picture of band slipping their hands out of yours and into their trouser pockets. "I wanna see the way you move for me, baby," it goes, as goaty a lyric as these nice boys have ever essayed. On Little Black Dress, One Direction turn from excellent boyfriend material – caring, devoted, well turned out, easily hurt – to something more akin to one-night-standees. ![]() Then there is the small matter of the vanilla leering, which takes place on the main album.
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