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But their personalities are shallowly drawn, without benefit of even the usual pretty/sporty/cool girl pencil-drawn archetypes. The women of Fifth Harmony all have solidly lovely voices, though they sometimes seem to mistake singing together at the same time for harmonizing. Every song seems to come with an imaginary #RealTalk hashtag, none more so than the abominable title track, which offers more proof, as if it were necessary, that no one should ever write a song referencing the Internet: “Don’t need no filters on pictures before you post ’em on the ’gram /Shut down the Internet/They don’t even understand.” The longer it goes on, the more it becomes evident that its components, and the women who deliver them, were mostly assembled by older men, in keeping with the ways older men think young women speak. Even at a slim 40-ish minutes, “Reflection” creaks under its own weight. Prime, mid-’90s Mariah was until now a criminally underutilized resource ripe for the pilfering “Like Mariah” samples “Always Be My Baby” so thoroughly, Carey gets a co-writing credit. “Sledgehammer” is a solid ’80s club-pop throwback, one of several co-written by “All About That Bass” hitmaker Meghan Trainor “Like Mariah” is one of a handful of songs that scrape the bottom of the Carey songbook and comes up with choice material. Most of the songs are mid-tempo, R&B-minded pop tracks that occasionally flirt with EDM and hip-hop. In both its attitude and its material, the album reflects almost every way those acts have changed in the past 15 years, and every way they’ve stayed the same.
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The most interesting thing about Fifth Harmony isn’t “Reflection,” which is charming and frustrating and bloated in turn, but how its below-the-line makers, who are mostly men, have fashioned it into a minor oracle of received girl group wisdom. All that remained were outliers such as Little Mix (little known in America), HAIM (technically more of a girl band), the Pussycat Dolls and Danity Kane (who sold millions of albums yet seemed to have few fans). The ’00s and ’10s were a vacuum, as if some invisible comet had taken out the girl group’s natural habitat. It’s unthinkable now, but in the late-’90s, the Spice Girls, TLC, En Vogue and Destiny’s Child all roamed the Earth at roughly the same time. They’re suddenly famous in ways that usually evade contestants on second-tier reality shows, for reasons that may have little to do with them and more to do with the unsated public need for a girl group - any girl group. Yet the group’s appeal has only grown stronger in their absence, defying precedent. Their official full-length debut, the ridiculously pleasing and often just ridiculous “Reflection,” arrives a momentum-dampening two years after their “X” season ended. For the record, he was the one with the cowboy hat.)įifth Harmony released a successful EP, “Better Together,” in the fall of 2013 but otherwise seemed unable to capitalize on their “X Factor” bronze. Don’t feel bad if you don’t remember him. The members were assembled in much the same way as their British cousins: Five individual “X Factor” washouts were joined together by Cowell mid-competition and eventually placed third. They will never try to make you believe that their sound “evolved organically.” They exist to be present-day hit machines, to be assembled into that thing you like right this at very moment.įifth Harmony exists simply because Simon Cowell wanted a distaff, American version of One Direction and didn’t have one yet. Things like “artistry” or “talent” are abstractions that do not trouble them. They can surf any trend, fill any niche, bend to any Top 40 desire.
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The great thing about prefab bands is that they can be whatever you want them to be.