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After a slew of EPs and delayed release dates, 's debut album finally arrived in October 2013 and confirmed her status as pop music's dark horse. And while its most outrageous touches -- the equally alluring and disturbing nude album cover shot by controversial film director Gaspard Noe, the -goes-Top 40 track 'Omanko,' named after the Japanese slang for a woman's genitals -- would make blush (or more likely, scratch her head), the most shocking thing about the album is how consistently good it is. Manages to balance her teen pop past with her current interest in indie rock in surprising, creative, and always catchy ways on songs like the new wave-tinged 'Love in Stereo,' while 'I Will' and 'You're Not the One' both mix hard-hitting beats and big guitars in ways that sound perfectly natural. And while the somber title track sounds closer to than, it hints that has even more surprises for listeners in the years to come.

A Singer Is Tough on Herself By JON CARAMANICA Published: October 30, 2013 How much longer will Sky Ferreira not get what she wants? The agony of disappointment is wearing on her, and animating her. Bluetooth Usb Adaptor Windows 7 here. See “Nobody Asked Me (If I Was Okay)” — which turns lashing out into a sticky, moody song — from her bracing, aggressive and surprisingly tender debut album, “Night Time, My Time” (Capitol).

For much of the song, her singing telegraphs as eye-rolling, exasperated boredom, even when the words are sour: “You say you don’t wanna hear me complain/Just trying to get my point across/You don’t seem to care if I’m feeling lost.” It rests somewhere near the intersection of Marilyn Manson’s motorized angst and Best Coast’s mournful tunefulness, which is to say Courtney Love. That’s driven home near the end, when Ms. Ferreira borrows a page from Ms. Love, and amps up her voice, turning a burr into a shriek.

Her sadness, bordering on petulant rage, is palpable. Finale 2009 Torrent Mac Client. That explosion is a breakout moment for a young singer who has spent much of the past few years struggling to be heard.

Signed at the age 15, Ms. Ferreira has been stuck in an extended purgatory of failed pop experiments, as if pop were all a young woman was meant to do. But it turns out that when Ms. Ferreira, now 21, sings about being systematically denied, she shines. Most of the best songs on this impressive album are about failure, or longing, or feeling apart.

Which, perversely and paradoxically, places her squarely at the center of contemporary female pop. The year’s recent pop blockbusters have all been downers of a sort — Miley Cyrus’s “Bangerz” (RCA) has a streak of sadness underpinning its “who wants what” attitude, and Katy Perry’s “Prism” (Capitol) is the sound of giving up on youth in favor of a more measured adulthood. Neither album is exuberant, or saccharine. Emulator Ps2 Terbaru Dan Bios there. But both are contemporary in a way that Ms. Ferreira rejects; she is the most authentically down of all. Everything about her album is a counterstroke.

Her influences are more considered, more stance taking: late 1970s art-rock, mid-1980s soundtrack pop. (Her song “24 Hours” could easily have been the theme for “Pretty in Pink.”) Ms.

Ferreira was the album’s executive producer, and the songs were produced by Ariel Rechtshaid and Justin Raisen, who have fashioned Ms. Ferreira as a dream-girl/antihero, ambitious in scale but reluctant in tone. There isn’t even a flash of the optimistic bubbly pop she delivered with the producer Dev Hynes on “Everything Is Embarrassing,” the 2012 single that was her first breath of genuine life in five years of missteps.

The closest she comes is the album opener, “Boys,” about finding a gem in the rough, though she sounds more at home singing about the rough. “24 Hours,” too, has the urgent synthesizers that connoted sexual awakening three decades ago, and the chorus is as transcendent as any love ballad.