After an artist delivers a less-than-stellar debut, one can only remain optimistic with the positives that seep through the negatives. Unfortunately, Ava Max doesn’t appear to let those positives take command and find better collaborators, instead disavowing our musical comprehension and delivering subpar Dance-Pop stuck in one gear on her latest album, Diamonds & Dancefloors. Ava Max takes us through a 180 spin from her debut, Heaven & Hell, shifting typical electro/synth-pop flair into the same genericism, but with Dance-Pop, with a touch of more personal and reflective content. There is little energy getting exhumed by Ava Max as she tries to sprinkle typical shifts between lower vocals and hitting the fifth octave. She isn’t relishing in the vocal range she can provide and instead teeters between mediocrity and thrill; sometimes, this quality is enough for the listener to find themselves in a trance; I wasn’t one of them.
Ava Max would tell Zane Lowe at Apple Music, “This album is about my life and what I went through in the last year and heartbreak…it’s basically heartbreak on the dance floor,” adding, “It’s gonna make you cry and dance at the same time.” The production is fine on its own, never taking chances in the breaks or choruses, instead relaying the same sonic mediocrity we’ve heard others do, like Zara Larsson, except better.
Diamonds & Dancefloors speaks on heartbreak, focusing on a deteriorating relationship that boasts angst, depression, and reflections on identity, as one wants to distract themselves by dancing through their emotions. It’s not uncommon, with some of the most hypnotic works coming from Eurodance/Electro-pop songs of the late 90s and 00s. From “Better Off Alone” by Alice Deejay to “Dancing On My Own” by Robyn, and Basshunters’ trilogy “Now You’re Gone,” “All I Ever Wanted,” and “Angel In The Night,” this idea of letting loose and coming into your own, emotionally, which can get derivative. Ava Max tries to tap into that zone, style, but she becomes complacent with its lack of melodic creativity and production that takes that next step to feeling refreshing. There’ve been a few times when a song has given us beats that aren’t bottom of the barrel, like that of “Ghost,” which beautifully taps into aspects of Eurodance hypnotizing synths, despite it being predominantly in the choral sections.
As non-extinguishing as “Ghost” is, it is one of only a few examples where Ava Max taps into her strengths: creating smooth melodies that will have you singing along. Writing is not one of them, as she shows us that her co-writers aren’t capable of boasting some boring and tried lyrics that take simple directions without making something profound. Ryan Tedder, who has written many hits, helps Ava Max turn “Weapons” into a radio hit, but it’s standard. Ava Max uses this song to focus on an idiom, “Stick and stones may break my bones (but words can never hurt me,” which some may feel that’s true to them. But Max’s song doesn’t reflect or hold that true, and instead, she seems like she can’t take words and would prefer the sticks and stones since there’s a bulletproof vest underneath for so many words. It is direct, as are other songs, with some that loosely thread simple metaphors like “Turn Off The Lights.” Much of what is here speaks to those who prefer it this way, but as someone who can find escapism within the melodies and production, it didn’t happen so often here.
Ava Max sews loose threads together to make a barely engaging album. One minute you’re grooving to some luscious choral melodies, and the next, it gets dourer as Max doesn’t captivate you with depth. When she retreats to another known: the more astute and emotionally protective creative, it still doesn’t feel new. “Cold As Ice” sounds like a tempered and groovier take on her Sweet But A Psycho demeanor that she established with her debut, but it still doesn’t pack a punch. With all these downs, when there should be more ups, but there are still some diamonds gleaming on the edges of the dancefloor, waiting for their moment to shine like Sugar Motta during a performance at Satana and Brittany’s wedding in Glee. The last two songs, along with “Get Outta My Heart,” spearhead some of the best work on the album. It uses minor quirks expected with Ava Max’s vocal style – here, she sounds different; she takes a smoother approach to her melodies while letting the Electronic/House elements create something new. It gets me moving, but there’s so little here for me to enjoy that I couldn’t find these to be anything rather than positives I won’t see getting repeated frequently, unlike “Weapons.”
Diamonds & Dancefloors was definitely made for the latter, but the grooves don’t always want to make you bust out your best moves, instead just free-flowing without a care. It has heart, except it isn’t poignant or carries enough depth instrumentally that you can’t help but push this aside and listen to better pop records from similar artists. As much as I can see something here for the masses, it doesn’t translate to something unique but rather something very apropos and diluted. There are a few tracks to like, but not enough to recommend a full listen.