(Google Drive) Halsey If I Can't Have Love, I Want Power Album download
39 minutes ago — (Google Drive) Halsey If I Can't Have Love, I Want Power Album download. New Project: Halsey If I Can't Have Love, I Want Power Album Zip File Mp3 Download musicbox.pw
Halsey has gotten his fans on the edge of their seats with this party thriller.
His song If I Can't Have Love, I Want Power Album“is already causing stirs in the streets leaving people in awe of his wordsmith powers.
39 minutes ago —
Halsey has shown that music just got better. He has won numerous awards from his previous songs and with the cooperation of his fans he hopes he can win more with this new song theme If I Can't Have Love, I Want Power’s “
If I Can't Have Love, I Want Power Album Tracklist:
01. The Tradition
2. Bells in Santa Fe
3. Easier than Lying
4. Lilith
5. Girl is a Gun
6. You asked for this
7. Darling
8. 1121
9. honey
10. Whispers
11. I am not a woman, I’m a god
12. The Lighthouse
13. Ya’aburnee
When Halsey’s first album, 2015’s Badlands, took off, “New Americana” was its designated hit. The track is a self-conscious attempt to define a generation “high on legal marijuana/Raised on Biggie and Nirvana,” a flimsy but easily digestible thesis statement for critics who saw the Tumblr-poet-turned-pop-star as a “millennial built in a lab,” as a New York Times profile put it then. But the album’s true promise came 10 tracks later, on “Gasoline”: “Do you tear yourself apart to entertain like me?” The pull toward self-immolation saturates Halsey’s music, and they’ve spent every album since drawing a big circle around it, in grand metaphors and gaudy costumed concepts. It’s in the way they call themself a hurricane, in the overdetermined tragedy of their Romeo and Juliet-themed album, in the formulaic pop songs they made later—even within the ache of their Auto-Tuned lines on the Chainsmokers hit that threatened to define their career. They turned the examination of their psyche into spectacle: splashy breakup songs with big-name features, an EP structured to take place in a single room.
On the surface, Halsey’s latest album, If I Can’t Have Love, I Want Power, fits this tradition of grand gestures. The singer, who uses she/they pronouns, is releasing the record alongside an IMAX film of the same name; there have been no singles, only increasingly gory, fantastical trailers and a theatrical unveiling of the album art at the Met. But the record itself has a tight, internal focus: It’s about walking the line between self-preservation and self-destruction, control and compulsion, the thrill and terror of getting what you want. Instead of sieving these themes through an elaborate architecture, Halsey lets horror—of the body, of the mind, of mortality—radiate outward. The result is alluring and spectral. It’s their best work yet.
Largely that’s because they sound so good: clear and cool and lilting. Nine Inch Nails members and film score mainstays Trent Reznor and Atticus Ross produced the record, and the pair seem eager to announce their unlikely place in pop music. On the opening tracks, they create a psychedelic Gothic fairytale—wisps of wind, icy piano, panoramic synth blur, a churning undercurrent listed in the credits as a “menacing beat”—while Halsey sings about loneliness and crowns and Judas (“Jesus needed a three-day weekend/To sort out all his bullshit”), but mostly about a pervasive sense of doom. “Don’t wait for me,” they cry over the chaos, “it’s not a happy ending.” Reznor and Ross spend most of the album experimenting, careening through genres and hinting at a danger that’s never fully realized. They cram songs with texture, reverberating screams and screeching sirens; the busyness can feel like a distraction. The sound is sometimes abrasive, but rarely shocking. The rollicking “honey” oscillates between frenetic drums and guitar, with Dave Grohl behind the kit and a cyborg inflection that leaks in from hyperpop. “I’ve been corrupted,” Halsey sings on “Lilith,” and a spasm of glitch submerges the last note.
Earlier this month, Halsey released a video that followed them walking barefoot through the immaculate halls of the Metropolitan Museum in New York City, eyeing historic paintings of the Madonna and Child before revealing the baroque, sacrosanct cover art for their fourth album, If I Can’t Have Love I Want Power. The image depicts Halsey, who just gave birth in July, holding a baby, their left breast exposed, in an ornate portrait of a mother modeled after Jean Fouquet’s Gothic diptych Virgin & Child Surrounded by Angels.
They’d set the scene. If I Can’t Have Love I Want Power is intended as high drama — a supremely theatrical, if slightly overwrought, concept album based on what they describe as “the dichotomy of the Madonna and the Whore.” The paradox obviously isn’t new: FKA Twigs recast the story of Mary Magdalene on her stunner of an LP from 2019 while the actual pop icon Madonna has played with virtue and desire throughout her career. What makes Halsey’s take compelling is that it’s distinctly corporal, tied to the physical experience of pregnancy and childbirth from an artist who notes that their body “has belonged to the world in many different ways” over the years. “The idea that me as a sexual being and my body as a vessel and gift to my child are two concepts that can co-exist peacefully and powerfully,” they wrote on Instagram.