Move over, Brat summer — it’s time for Brontë winter. Friday, Feb. 13, pop icon Charli XCX released “Wuthering Heights,” an album conceptualized after Emerald Fennell’s recent film adaptation of Emily Brontë’s classic novel. Though the film has received its fair share of criticism, Charli XCX delivers a nearly flawless project in accompaniment to what she calls “one of the greatest love stories of all time.”
The album begins with the eerie, and perhaps most well-known track “House” featuring John Cale. Rhythmic, grating strings accompany Cale’s gruff speaking voice, creating a strong yet certainly purposeful unsettling feeling that begs me to hit skip as fast as I can. While the goal of disconcerting sonics was achieved, I can’t say I’ll be listening to this song casually unless I have the desire to literally feel like “I’m gonna die in this house.”
“Wall of Sound,” though far more palatable than its predecessor, continues this unsettling mood with more strenuous strings as Charli XCX sings “Unbelievable pressure, wall of sound / Love and hatred and I can’t escape it.” Most of “Wall of Sound” is harmonious, beautiful and easy on the ears, but like “House,” contains moments of screeching dissonance. But, these intervals help to build the “unbelievable tension” and assist in creating the album’s overarching uneasy concept.
“Dying for You” is the first song on “Wuthering Heights” that truly provides that signature Charli pop melody, complete with a quick, catchy beat that begs to be danced to. Though the lyrics hold the heaviness of hopeless devotion, the tragic undertones can easily be ignored underneath the upbeat rhythm.
The next track, however, isn’t so forgiving. The tender, nostalgic chords, ethereal strings and echoey vocals of “Always Everywhere” make it impossible not to imagine a montage of everything in your life that once was and can never be again. One of the most touching songs on the album, “Always Everywhere” is a large part of what makes “Wuthering Heights” such a cinematic listening experience.
“Chains of Love” has been infinitely playing on repeat since my first listen, and it simply refuses to get old. This perfect pop masterpiece encapsulates the feeling of being held captive to your own feelings — as Charli puts it, “The chains of love are cruel / I shouldn’t feel like a prisoner.” The song’s thumping bass, cutting lyrics, addictive melody and shattering beat drop makes it impossible to stop listening.
“Out of Myself” is one of the more lighthearted tracks on the album, focused on the pleasures of indulgence in forbidden love rather than the pain. The mischievously deep double bass paired with lyrics like “I’m begging to you on my knees / Please rub the salt in my wounds” portrays the willingly self-sabotaging nature of the song in a way that makes forbidden fruit seem irresistible. While this is one of the less notable melodies, it is a cohesive, well-crafted addition to the record. The next track, “Open Up,” serves as a euphonious yet forgettable transition, totaling at just 1:33 minutes with minimal lyrics.
“Seeing Things” artfully showcases the madness of being subconsciously stuck in the past. In this song, Charli XCX details the story of someone thinking they see a lost love everywhere they go, even though they’re not there at all. “You’re a ghost now, maybe a reflection / In fact, I’m certain I just saw you in the window… / I think I’m seeing things that are not there.” One of the stronger tracks on “Wuthering Heights,” “Seeing Things” is catchy and captivating, complete with light, dainty piano, staccato orchestral strings and rich storytelling.
Track 9, “Altars,” may just take the crown as my favorite song on “Wuthering Heights.” Brimming with passion, longing and desperation, “Altars” begins with a sharp, compelling rhythm that is hauntingly captivating. The first verse features throaty, cutting, impressively low vocals by Charli XCX that paint a somber, mournful tone. A stark beat of silence serves as the dramatic transition to the catchy, wistful chorus depicting the desperate worship of a doomed love — “I’m at your altar, baby, now I can see / You’re gonna end up killing me.”
“Eyes of the World” featuring Sky Ferreira is one of the more ambitious tracks on the album. Mellow yet tense verses and a cluttered, dramatic chorus create a sonic contrast made even more striking by Ferreira’s gravelly vocals in the song’s second verse. But, Charli XCX and Ferreira coordinate flawlessly to balance the song’s friction with tastefulness, making it a unique and engaging listen.
While at first listen, “My Reminder” seems like a classic Charli pop song, its lyrics entail the bittersweet remembrance of an estranged someone from your past. Against an energetic yet poignant beat and layered string instruments, Charli XCX sings, “I don’t hate you, we’re just different now / You’re always my reminder / of where I started from.” It’s easy to get this nostalgic, soul-stirring track stuck in your head for days after hearing it just once.
“Funny Mouth,” the moody finale to “Wuthering Heights,” features erratic, dissonant strings once again, increasing in volume and tension alongside Charli XCX’s husky voice as the song progresses. She croons gloomily, “Everyone sleeps / Everyone wakes up / Everyone dreams / And everyone breaks up.” Though this is one of the least memorable tracks on the album, the stabilization of the instrumentals to become harmonious with the vocals at the song’s close truly makes “Wuthering Heights” feel complete.
Charli XCX has done it again. Though “Wuthering Heights” is a complete diversion from 2024’s “Brat,” its full string arrangements, miserably romantic imagery and cinematic production makes the album not just a collection of songs, but an immersive experience that will make you want to run dramatically through the English moors.
