Dazzling popstar Sabrina Carpenter officially released her new album “Man’s Best Friend” on Aug. 27 — only a year and six days after the release of her Grammy-winning album, “Short n’ Sweet.” There are always high expectations for those who live in stardom, especially after such a successful year — and MBF did not fall short.
The album begins with “Manchild,” the hit single that dropped in early summer. “Manchild” is upbeat and mocking in its lyricism, which calls her past love interests dumb, incompetent and a “manchild.” Complimenting Carpenter’s usual light and airy vocals, this track is very danceable with its synths, delivering a slight country-pop sound, especially during the bridge.
Like most of Carpenter’s newer music, it is a feel-good song that laughs off romantic disappointment with an extremely catchy chorus, “Manchild / Why you always come a running to me?” This song’s sister is track nine, “Go Go Juice,” an upbeat, instrumental-based alternative where she self-mocks about drunk-calling blasts from the past.
Track two, “Tears,” lures listeners into a breathy and sultry introduction. After the beat drop and eyebrow-raising first few lines, it is clear the track’s title is misleading, since the tears Carpenter mentions come from her thighs, not eyes. Unapologetic sexuality is one of Carpenter’s trademarks, and this track reminds listeners of that, as she says herself, “A little communication, yes, that’s my ideal foreplay.”
This track is a disco-tease with a vintage feel, like many of the following tracks, especially after she whispers, “Dance break.” The listener can easily groove to the smooth rhythm and effortlessly envision a dance floor accompanied by spinning party lights. Lovers of this track will likely jive to “House Tour,” which, in contrast to this 70s-esque track, screams 80s pop with its electronic claps and synthesizers but remains the same with its winks to clever double entendres.
“My Man on Willpower” has a deeper, dramatic introduction that sinks once Carpenter starts singing. This song’s chorus feels less repetitive than previous tracks and maintains its vitality. The melody is smooth and lovely like the denial stage; the words clearly paint a picture of Carpenter’s frustrations: “My man’s in touch with his emotions / My man won’t touch me with a twenty foot pole / My man’s forgotten his devotion.”
Descending into a gentler, sorrowful energy, track four, “Sugar Talking,” introduces Carpenter’s lower register and soft belts against the simple rhythmic backdrop — lightly stepping into ballad territory. This track further reveals the picture the album is painting by revealing how much her love interest is hurting her — and this time, she no longer laughs it off: “You filled my whole apartment with flowers that die.”
For listeners who appreciate this song’s honesty and heartache, the next track, “We Almost Broke Up Again Last Night,” is a suitable, airier pairing that encapsulates the back-and-forth of a toxic relationship.
Track six, “Nobody’s Son,” is reminiscent of the 80s pop sound but provides a subtler alternative with Carpenter’s modern lyrics. This track is synthesizer-heavy and extremely catchy, sure to get stuck in listeners’ heads.
Transitioning into a silky sway, track seven, “Never Getting Laid,” is another disco-like song, only quieter. Carpenter’s delicate vocals make the song feel like a haze, especially during the dreamy, distinctive bridge. Track seven stands out against the danceable upbeats in the album and the heartbreak songs — but it remains forever-Sabrina in the cheeky lyrics: “I wish you a lifetime full of happiness / And a forever of never getting laid.”
Another standout is the track that follows, “When Did You Get Hot?” This song is a nod to earlier R&B. With swirling, deep electronics in the background, this track is reminiscent of Salt-N-Pepa’s “Whatta Man.” The lyrics are humorous and admirable as always: “Sorry I did not see the vision / Thank the Lord, the fine you has risen.”
Track 10, “Don’t Worry I’ll Make You Worry,” is a notable slowdown from tracks eight and nine. The song’s sadder melody and whispered “Oohs” and “Ahs” are stunning. This track waves goodbye to the album’s heartache, as the final two tracks reflect joy, triumph and pleasure.
MBF’s closer, “Goodbye,” is a proud send-off to Carpenter’s romantic interest — not a bitter farewell but a proud “your loss.” The instrumentals spin listeners right back into the 70s for a final hurrah. The “uh-huhs,” “sayonaras,” chorus and cheerful bridge toss roses to ABBA, who undoubtedly inspired this track. “Did you forget that it was you who said goodbye? / So you don’t get to be the one who cries,” is beautifully catchy and rejoicing.
Carpenter reminds listeners why she is a standout pop girl, with her ease in creating catchy, danceable tracks and finding humor in heartache. MBF is produced well and captures Carpenter’s modern-pop sound. To those who claim this album is boring, “Por siempre te amo, wait, no.”
