Kesha’s “Gag Order”; an emotional cathartic experience

 

Via Vincent Haycock

 

Kesha has released her fifth studio album, “Gag Order,” and it’s definitely a trip!


Kesha's album "Gag Order" marks her final release under Lukasz "Dr. Luke" Gottwald's former label, Kemosabe Records. She signed the contract at the age of 18 but later accused Dr. Luke of sexual, physical, verbal, and emotional abuse that nearly cost her life. In 2016, Kesha, unfortunately, lost a court battle to be freed from the contract due to the statute of limitations on specific rape allegations. Although Dr. Luke is no longer in charge at Kemosabe, he will still profit from the album through Kesha's original deal with his publishing company, which ultimately places fans in a precarious situation.

The production of this record - which Kesha made with Rick Rubin and various returning collaborators including her mom, songwriter Pebe Sebert - seems to have been carefully selected; its dark and moving synths power the album breathing life into it. In its creation, Kesha seems to have released previous hurt, anger, and resentment in her life (or at least is actively trying to). It encapsulates emotions and the human experience perfectly and in a way never presented before. Kesha’s lyrics, spoken at times so softly, hit like a hammer. The startling rawness in the words immediately resonates and hit you when you expect it least.

Fine Line’s production in its simplicity carries a sense of momentum, mirroring the determination and strength conveyed in the lyrics. “This is where you f*ckers pushed me/ Don’t be surprised if sh*t gets ugly,” she says with sadness in her voice over synth chords. Over a pulsating bassline that frequently creeps, Eat the Acid, Rubin interlopes voice notes Kesha has sent him into the finished track, splitting her voice into a chant: “You don’t wanna be changed like it changed me”. The track takes listeners on a captivating sonic journey that showcases Kesha’s artistic evolution and fearless exploration of new musical territories. With its hooking beats, hypnotic synths, and Kesha's distinctive vocals, the track stands out as a bold and electrifying release. Another standout in the album is All I Need Is You with its heartfelt pleas. Kesha’s voice sits beautifully over the synth chords and harmonious choir. The track’s tone mesmerizes and instantly touches listeners and is an area Kesha seems to thrive

We still see cracks of Kesha’s playful and light self on tracks like The Drama as she reflects, “In the next life I wanna come back as a house cat,” for the final minute and a half of the track. The club and subtle electronic elements and layered textures create a sonic landscape that somehow still perfectly captures the fun emotional essence of the song. The production serves as a powerful backdrop, enhancing the lyrics and drawing listeners in soliciting you to dance. The album ends with Happy, a weary but lovely ballad dedicated to getting everything you wished for in life but it’s not how you hoped it would be. Despite the song being personal to Kesha, its message is definitely universal and heartbreakingly relatable.

Kesha’s Gag Order is a perfect capsule of where the singer is in her life. Creating this album must have been a form of catharsis of past negativity as every track drips with moving emotion. While the album is not Kesha’s best, it’s definitely her most mature. It shows a different and exciting side to Kesha that I hope she explores more of now that she will be free from Dr. Luke.

Gag Order is a captivating and introspective exploration of emotional turmoil and triumph. With its atmospheric production, poignant lyrics, and Kesha's heartfelt vocals, the album leaves a lasting impression. It invites listeners to reflect on their own emotional journeys and serves as a reminder that amidst the ups and downs of life, we can find solace in embracing and understanding our own personal dramas. And remember don’t ever eat the acid if you don’t wanna be changed.


Previous
Previous

NewJeans' 'Get Up': Fresh, Cool, and Contemplative

Next
Next

Chlöe misses the mark with “In Pieces”