The Weekly Coos

An influx of fun but exulting and punk-like sonic complexions separates the magnetism of Porter Robinson’s last album and his follow-up, Smile! 😀. Porter’s previous album was this infectious existentially potent array of bangers that elevated the presence of one’s mind, while his follow-up, is as Porter puts it, it’s his “most fun, and maybe my most heartbreaking album I think it’s my most interesting work,” and that’s easily audible with its blend of concise constructs and chaos. However, that chaos is more confined while being allowed to feel loose as he takes the journey into an abyss that is more about the writing than production. It makes our journey with him seem more worthwhile, even when it can come and go without making much of a splash. Porter’s writing is the significant highlight and helps you maneuver through the thematic context over some decent production. Here, it’s Porter Robinson acknowledging and challenging the emotions that get heightened with the exposure emanating from fame; as it closes, you sense that what holds Porter Robinson together are his fans. The production can sometimes be weak, but not all weaken some songs, weaving a good consistency.

I love most of Smile! 😀, that is a fact. Frankly, the first three tracks are intense; there is a streamlined flow of archaic concoctions where Porter Robinson lets himself emote without coming across as one-note, especially when delivering more pop tracks. As it stands with Porter, the dimensions brought about are more written out, instead of following through with some staple choices, like minimalistic writing that carries emotional repetition despite weaving an intriguing tale. Porter Robinson comes off as more of a songwriter here, and his talent shines beautifully. It’s beneficial that the opening track comes like an immediate firecracker blasting around you and making you dance to the lucid rhythms. “Knock Yourself Out XD” reflects the divide Porter sees of himself via two POVs, the fans and himself, and wraps itself around the idea that he is significant, a non-quitter, despite having his workarounds. It beautifully hones in on idolization and how fans can place their favorite artists on a tentpole without understanding who they are besides the music. It packs a significant 1-2 punch with “Cheerleader,” where you sense that influence from emo music, like pop-punk, which I love.

“Cheerleader,” “Russian Roulette,” and “Is There Really No Happiness” are the major hitters that have stuck with me since release, but equally, tracks like “Year of the Cup” and “Mona Lisa” have these unique sonic tinges that encapsulate different ways to tell a narrative, like samples an interview with Lil Wayne for “Year of the Cup” or “Mona Lisa.” The former, “Year of the Cup,” uses an interview with Lil Wayne, as done by Tim Westwood, philosophizing about what is in the cup, which at the time Wayne was using as a means to signify a contributor to success instead of the taboo mentality, to showcase that flaws make us human. It’s a wonderful delivery that eclipses what is a better first half than second. It’s a detachment from the past sounds Porter has dabbled in, though he still retains some of that anime influence in the pop that makes those pop. Unfortunately, some of his pop-EDM tracks in the second can start to retread familiarity with what he set up on “Cheerleader.” It’s why “Is There Really No Happiness” is more refreshing than most, because it’s more toned-down in its layering, comparatively, not aiming for emo-bombast, instead taking a step back and unwinding in the lyricism.

Compared to the concept driven by the lyricism, the production is the weakest element of the album, especially the non-single pop songs that can feel more of the same, like “Perfect Pinterest Garden” or “Kitsune Maison Freestyle,” which don’t have the zeal as the first two tracks, or the unique and nuanced House/Techno machinations of the 2000s in a modern way, and giving us another banger before the second half gets more calm. Some of the last few tracks see Porter Robinson singing over some calmer sound textures, which can be needed after the fun glitchiness of “Mona Lisa,” a neat track featuring Angel Frost of Frost Children, where they weave this tale that speaks to the parasocial nature of fandom and does so solidly. “Easier to Love” and “Everything to Me” are very stripped down, and offer a different side of Porter Robinson as we hear his vocals more front and center, bridging whatever gap there was closer, and giving us something unique and different to capitalize off the lesser midpoint of the album. Though the production of “Everything to Me” can feel slightly vanilla, the same with “Perfect Pinterest Garden” and more, the vibes do remain strong.

Smile! 😀 is another quality outing by Porter Robinson, even through the missteps. It does a lot to keep you engaged and shifts the parameters of expectations with the music. It isn’t another copy of previous sounds—a slight evolution that gets heard fluidly. I was a fan, as I know you will be, but there have been better club/EDM pop albums this year, like Prism of Pleasure, and I’m more inclined to listen to that over this. But this is still worth the time, and I hope you enjoy the journey with Porter Robinson.