finally seems to be getting back on

MØ had her rise during the period when alternative pop was very much on trend in the middle of the last decade, with atmospheric alt-pop/r&b that was very effective in presenting creative pop that dialogue with references that moved away from the mainstream. However, the artist struggled to follow up her strong debut with the same effect as her first album. Forever Neverland was fun, but it showed the artist lost in her essence on a record that was closer to the style of generic tropical pop inspired by dancehall that was very successful at the time and Motordrome was just too boring.

With her new album, Plæygirl, MØ finally seems to be getting back on track with a record that takes a different approach to her career but manages to be effective. The album takes a more edm direction, with the generally nocturnal danceable electronics marked by midtempo bass and french electro references. The biggest highlights are ‘SWEET’ and ‘Keep Moving’, where the mechanical textures and ferocious, incessant synthesisers come out strongly.

Some tracks also insist on the alternative pop and r&b style that marked the artist's debut, but they hardly have an impressive result because they lack the creativity of No Mythologies to Follow. Despite some uninteresting moments, overall Plæygirl stands out for being MØ's most consistent and entertaining album since 2014, taking a refreshing approach to her career that manages to evoke the singer's main artistic qualities.