The summer of Brat may be over, but the vibrant lime green joys of Charli XCX’s groundbreaking album remain...

Today marks the release of 'Brat And It’s Completely Different But Also Still Brat', a remix double album featuring the British pop star revisiting her 2024 hit with a stellar lineup including Billie Eilish, Bon Iver, Lorde, Troye Sivan, Robyn, and more.

Much like my initial eye-roll at the deluxe edition, 'Brat And It’s The Same But There’s Three More Songs So It’s Not', the thought of a third iteration made me cringe so hard I briefly developed abs. There’s already been a re-release, which taps into one of my biggest pet peeves about trend-setting albums: greedy record labels milking fans for more cash with additional editions, often for just a few extra tracks that should have been part of the original release.

Despite loving the club vibe of 'Brat 1.0' and being impressed by its cultural impact, I couldn’t help but feel skeptical about this new marketing strategy. It seems insincere and blatantly tactical. I’ve always been cautious of remix albums, not because I believe the original mix is always superior (see Yeah Yeah Yeahs’ ‘Heads Will Roll (A-Trak Remix)’), but because full remix LPs often feel more commercial than artistic, diluting the emotional impact of the music.

There are exceptions, of course. Massive Attack vs Mad Professor’s 'No Protection', The B-52's 'Party Mix!', Philip Glass’ 'Rework', Aphex Twin’s '26 Mixes for Cash', and Björk’s 'Telegram' (to an extent) all defied the norm. However, I’m content to categorize most other remix albums as hastily assembled, capitalistic gimmicks.

This brings us back to Charli XCX. I’m keeping an open mind, especially since I already enjoy the new ‘Guess’ featuring Billie Eilish. Perhaps I’ll need both hands to count the remix albums that genuinely enhance an artist’s discography, and this could be the victory lap Charli deserves after her commercial and cultural triumph.

I hope it’s not the cynical cash grab I fear. I’m off to listen to it now. I leave you in the capable hands of my colleague Jonny, who’s been spinning 'Brat And It’s Completely Different But Also Still Brat' and shares his thoughts.

Grumpy David, signing off. And Jonny in!

When I reviewed Charli XCX’s ‘Brat’ in June, I felt a certainty about its imminent cultural influence, shared by many music journalists. It was the perfect blend of zeitgeist and engaging party anthems. ‘Brat’ was always going to be the album of the summer, and it certainly was mine. My lungs can attest to that.

Interestingly, in the many clubs where ‘Brat’ songs were played, they were rarely altered. DJs recognized the dance floor potential of tracks like ‘365’ and ‘Von Dutch’. They didn’t need minimal house remixes; they were ready for pleasure.

By that logic, a remix album by Charli XCX herself doesn’t seem necessary. When album of the year lists come around, I’ll be advocating for ‘Brat’ at the top spot. This leaves one question: Does ‘Brat And It's Completely Different But Also Still Brat’ represent genuine evolution or a cynical cash grab?

In many ways, it’s neither. Rarely are the beats changed to make them more propulsive. XCX leans more on adding reverb than combining tracks with techno beats. ‘Von Dutch’, the album’s most aggressive single, is remixed by A.G. Cook with additional vocals by Addisone Rae, neutralizing the original’s venom.

This isn’t a traditional remix album. It’s an opportunity to collaborate with artists, creating new spins on the songs. Artists featured range from obvious choices like Lorde and Troye Sivan to pop giants like Ariana Grande and Billie Eilish, and surprising names like Julian Cassablancas and Robyn.

The songs fall into three categories: club-focused remixes, alternative versions with featured artists, and stripped-back retoolings. On ‘Club Classics’, she interpolates the original ‘365’, removing its verve for an overbearing beat. A better example is ‘Talk Talk’, featuring Troye Sivan, fusing their styles into a genuine duet.

‘Brat And It's Completely Different But Also Still Brat’ can be dull when tracks only showcase XCX’s studio connections. Ariana Grande adds nothing to ‘Sympathy Is A Knife’, detracting from its biting lyrics. Conversely, ‘Everything Is Romantic’ benefits from Caroline Polachek’s addition, elevating it.

Some of the most refreshing moments come when XCX avoids traditional remixes. ‘I Might Say Something’, a reflective slow burn, is taken to the max with Jon Hopkins’ neo-classical approach. Matty Healy’s verse fits the dayglo hangover feeling, making him less insufferable.

The album ends with EDM inflections, but Shygirl’s inclusion doesn’t improve ‘365’. The finale is now ‘Guess’ with Billie Eilish, adding a salubrious tone to the deep bassline, ending the album with gravitas.

If only the whole album were this good. 'Brat And It’s Completely Different But Also Still Brat' is out now.