Shawn Mendis’ ‘Wonder’: Album Review

From the Canadian singer-songwriter Shawn Mendis The career artist, who rose to fame for the first time at the age of 14 with a series of covers on Twitter’s wine app – for those who can not remember, it’s a six – second ancestor to Tikatak – worked tirelessly to keep him and his team focused on longevity and maturity rather than the perishable celebrities that represent such status. They have long been successful in that mission: he is now a world-renowned veteran musician who has made extensive albums, headline arenas and the No. 1 singles worldwide, all at the age of 22.

The challenge with such success is that it sets out to go to a young artist, especially in the context of rock-leaning pop sound, who has behaved to this day. All of the above, almost two-and-a-half years after the release of his third studio album – by its unnamed title, marks a new beginning – suggesting some soul-searching, epidemic and otherwise.

His new collection, “Wonder”, explores many dynamics. Mendes’ singing style was a kind of breathless, uber-sensitive tenor, often jumping into Falsetto, which he helped to make one of the defining sounds of this era, although he expanded his scope here to “Song for No One.” The album also features a duet with Justin Bieber and a song with producer Frank Dukes (Camila Cabello, Post Malone), as well as its pre-star features and collaborations. Instead, Mendis and his longtime lead producers — songwriters (Scott Harris, Nate Mercerio and Kid Harpoon, who choreographed two hits on Harry Styles’ latest album) – remove all stops to diversify and dramatize his sound – large bands and bands With fans – when firmly rooted in the pop generation.

Case in Point is the record ‘s highest introduction, with the orchestra synthesizers abruptly bloated before the angelic mass of the title track moves directly into the choir. “Wonder” serves as a preview of the most commonly used template on the album: sharp-sounding songs, spare keyboards, and lyrical lyrics.

After the song hits the crescendo, the album trades between the hilarious Timberlake-Ian tracks “Teach Me How to Love” and “Dream About You” and the anxious, soft ballads. There are songs about love (and perhaps his Paramour Cabello) and party, but there is also an introspection that begins with his final release and is intensified by the lockdown, where there is more emphasis. “Call My Friends” was so effective that Mendes lamented the teenage years he left behind to become a star: “Right now I’m alone inside the airport / and you’re all in our own Riley bar.” I lost count. ”

His Dukes-Helmed duet with Bieber, however, is “Monster”. While this song is a slinky mid-tempo groove, the lyrics are essentially a treatise on young, ambitious and famous hardships. “You put me on a pedestal and tell me I am the best. Fill me with confidence, I will say what is in my chest / Sprinkle my words and tear me down until nothing is left. “Coming from two superstars, the self-pitying outlook before 2020 now sounds voice-deaf.

In Smart Bit Sequencing, the song follows the lightest song on the album “305”, featuring a bouncing tempo and a skipping lilt of melody; The title refers to the sleepless hour in the morning, but also to the area code of Cabello’s hometown Miami. From there, the album reaches its climax, ending with a small vocal number, which ends with a human, intimate note. Although “Wonder” can be overwhelming and overwhelming at times, it can feel like the last stop on a particular journey. Mendes doesn’t seem to be bigger than this without going full Adele, so what’s to come next is wide open.