Justin Bieber, ‘Swag II’ and the curse of the ever-expanding album : NPR

In July, following a break-up together with his longtime supervisor Scooter Braun, promoting his catalog for over $200 million and spitting again at ogling paparazzi who could not appear to know that he was “standing on enterprise,” Justin Bieber achieved one thing aside from persistently touchdown within the tabloids: he launched a shock album, Swag, which actually solely suits the mould of a quintessential Bieber album in its minimalist, swaggy title.

Swag shouldn’t be the business, cookie-cutter pop-R&B that outlined Bieber’s previous couple of releases and produced songs just like the Grammy-nominated hit “Peaches.” As a substitute, Bieber enlisted a gaggle of surprisingly leftfield writers and producers together with the singer-songwriter Tobias Jesso Jr. and gifted, uber-cool collaborators Dijon and Mk.gee to create a slippery and even experimental pop album. Specializing in fragmented snapshots from Bieber’s very publicly and personally litigated life as a comparatively new father and embattled spouse man, it performs with the hazy, ambient touchstones of ’80s R&B and rock whereas highlighting the Biebs’ still-impressive depth as a vocalist. Swag is imperfect — it is insular and repetitive, and undoubtedly inaccessible to anybody itching for the fascinating excessive of a tune like “Sorry.” But it was a transparent, even dangerous assertion and far wanted revamp for an artist who has appeared to stumble via the previous few years of his profession.

However Bieber had extra enterprise to face on. Final week he launched a 23-track sequel to the album in Swag II, which mirrors the identical musical and emotional tenor of the primary album with out including way more to the challenge aside from sheer quantity. Swag, with its 21 songs and uncharacteristically arty manufacturing, was robust sufficient of an announcement to face by itself, not a challenge that wanted rapid, prolonged extension. And whereas it is being marketed as its personal album, not essentially an extension to the unique challenge, on streaming companies it seems bundled proper earlier than Swag, seamlessly feeding listeners the primary album to spice up the OG challenge’s streams proper after. Now, followers of Bieber’s Swag period have 44 songs in complete to take pleasure in, as a result of extra music is best, proper?

That appears to be the reigning strategy for thus many artists during the last 5 years, as musicians search to increase the lifetime of their albums (or more and more rarefied second within the business’s monocultural highlight) so far as they presumably can. Lately it is commonplace for an artist to launch a brand new album only a 12 months and even much less after their final one, as each Tyler, the Creator and Sabrina Carpenter did with DON’T TAP THE GLASS and Man’s Finest Pal, regardless of placing out the well-received CHROMAKOPIA and Brief n’ Candy in 2024. FKA twigs, who launched her wonderful club-inspired album EUSEXUA in January, additionally introduced a follow-up titled Eusexua Afterglow, which she clarified is a wholly new album. Taylor Swift, whose incessant, ever-visible productiveness makes me assume she’s aware about cloning know-how we peasants do not but possess, not solely put out the large The Tortured Poets Division within the midst of her Eras Tour final 12 months, however is now placing out a brand new album, The Lifetime of a Showgirl, in only a few months.

After which there are the standalone albums that simply appear to continue to grow, via extensions, bonus-track crammed deluxe editions or remix variations, the which means of every format blurring collectively over time. This 12 months Teddy Swims launched I’ve Tried Every part however Remedy (Half 2), billed because the “second half” of 2023’s I’ve Tried Every part however Remedy (Half 1), although every is actually its personal album. In 2023, Taylor Swift doubled the size of the 16-track The Tortured Poets Division when she casually dropped 15 extra tracks simply two hours later. The “deluxe album,” which generally provides a couple of extra bonus tracks to an preliminary launch, is now almost a requirement for any main pop album launched within the 2020s. And these deluxe editions can drop a couple of months to years after the unique album drops, because it did with SZA’s album SOS, which got here out in 2022 and solely noticed its deluxe version, SOS Deluxe: LANA, which lastly materialized this 12 months after extremely publicized delays.

The album as a format has arguably by no means been extra acceptably mutable and malleable than it’s proper now. It is humorous to assume that just about a decade in the past, music critics (myself included) and followers have been wringing their fingers over Kanye West tinkering with The Lifetime of Pablo after it was despatched to streaming companies and what it meant for the album as a contained, immovable creative assertion. The benefit and adaptability of streaming, the place artists haven’t got to fret about fossilizing a launch in any set type or size to suit the bodily limits of a vinyl file or CD, free to drop new music instantaneously, has allowed the album to float into playlist territory, the place songs may be added and even tweaked to befit a unique time. American pop artists have additionally adopted the discharge methods of worldwide markets like Okay-pop, the place it is commonplace for teams to launch a number of variations of a single challenge or repackage it in several methods to spice up gross sales and feed spend-happy fanbases. When you need to launch a whopping 37-song album, you are able to do that in 2025, as Morgan Wallen did with I am the Drawback, indisputably probably the most commercially profitable album of the 12 months thus far. Or, launch a number of CD and digital variations of your album, like Playboi Carti did for this 12 months’s MUSIC.

However the prolonged universe of the typical album lately, with its rising tracklists and deluxe editions and shock sequels, does not really feel like artists are pushing the artistic limits of their work and extra like craven enterprise ways. There’s a business incentive to creating your album so long as attainable, in as many permutations. Longer albums typically translate to extra streams, and extra streams imply extra album “gross sales” given the way in which album efficiency is calculated within the streaming period, which in flip aids higher placement on the pop charts, a nonetheless extremely coveted endorsement for artists. As my colleague Stephen Thompson tracks in his weekly overview of the Billboard charts, a well-timed deluxe version can even catapult an album that is fallen off the higher echelon of the chart (or off it totally) via new streams and gross sales, momentarily boosting an album that has fallen via the cracks in a music financial system the place it looks like the identical handful of pop artists monopolize consideration. Like an influencer who has to put up a number of instances a day to extend their attain and follower counts, musicians should churn out music to do the identical.

I do know why artists stretch out the lifespan of their albums like putty for optimum affect. And I sympathize, inside limits, with any artist who should launch work in our present, disordered consideration financial system and abundance of latest music. And but I would like all of them to simply let their albums breathe — to outline a single challenge and let it exist for a minute by itself phrases with out fixed add-ons or extra albums rolling down the pipeline in a month or two. I am not a lot inquisitive about artists committing to an old style, 12 to 13 monitor, give-or-take 45-minute album, although when it occurs, because it did with Lorde’s svelte Virgin this 12 months, which has but to supply any bonus tracks, I am pleasantly shocked. I’m looking for a broader push for artists to self-edit extra intentionally, and to show away from launch methods that lend their work an aura of hysteria about capturing enough consideration.

A part of the appeal of Bieber’s Swag was that you would hear the artist leaning out, although not as a lot as he might have, from his previous instincts as a pop artist in simply the proper measure, for the entire album. However on Swag II I hear a muddying of that intuition and at instances a backtracking of that preliminary experimentation on the overly schmaltzy, upbeat songs like “I Suppose You are Particular” and “Eye Sweet.” Principally the songs circle the identical Dijon and Mk.gee-executed instrumentation and Bieber’s concepts (he’ll at all times be there for his spouse, who he loves very a lot, although marriage is not at all times simple) so equally to the primary album that every one 44 tracks start to bleed collectively in a blur that finally cheapens every tune. The added songs are worse materials than what Bieber gave us on Swag, so why give them to us?

Swag II made me query if Bieber was underwhelmed by the album’s preliminary business efficiency (the album debuted at No. 2 on the Billboard chart, however has fallen steadily since) and thought extra music may push the challenge again into the highlight. If that was the case, he obtained what he wished — this week Swag surged again within the Billboard 200’s high 5, leaping from spot 17 to 4, partially due to how Swag II‘s streams have been mixed with Swag‘s for chart functions. An extra of latest music by your favourite artist may be thrilling, nevertheless it makes me skeptical of their imaginative and prescient for the album within the first place, particularly when intensive releases and shock double albums appear tuned to business pursuits. The variety of instances I’ve heard an album within the final 5 years and thought that there was a greater model of it hiding in its 20-something or extra tracklist is excessive.

The phrase “period” will get thrown round lots lately with reference to musicians, which means the overall transformation of sound and magnificence that accompanies a brand new launch for artists dedicated to fixed reinvention. However to ensure that an period to exist, that you must transfer on. When Taylor Swift introduced her forthcoming album The Lifetime of a Showgirl, she made it clear it will simply be 13 tracks — no deluxe songs or secret tracks coming. She’s an artist with the privilege of getting a relentless highlight on her each transfer who can afford to tug this off, and I am believing her with warning. However I additionally suspect she’s (perhaps) lastly realized what so many people know, and have been begging her to embrace: typically much less is best.