This is the Deluxe Vesion of The Lucky Ones by The Pentatonix (mp3/zip), stream and download effortlessly this new pop album.
Though the pop album is undoubtedly authentic, it’s an unfortunate example of how authenticity isn’t always equivalent to creativity. Relatively few of the album’s 11 tracks stand out as noteworthy — essentially, if you’ve heard one Pentatonix song before, it’s not very difficult to imagine how this album sounds.
What the album lacks in lyricism, however, is redeemed significantly by rather seamless production. Pentatonix sings with a level of mastery that only a decade of true unified dedication can bring: The group’s marvelous vocals coalesce naturally, smoothly gliding and intertwining with radiant clarity. Long sighs and deep breaths on “Side” echo and resonate, and Kevin Olusola (vocal percussion) and Matt Sallee (bass) wonderfully mimic string pizzicato on the titular track. While The Lucky Ones’ musical composition isn’t quite as ambitious as previous projects, the production is still remarkably well-executed.
Pentatonix’s dynamism shines through most on the track “Never Gonna Cry Again,” featuring a bold chorus reminiscent of the group’s popular Daft Punk medley. This compelling song considers the mental effects of internet fame, and here, honestly exploring insecurity helps The Lucky Ones edge a little closer to success. Two of the more well-written songs on the album also offer looks into inhibition, though in the context of heartache: “Exit Signs” and “It’s Different Now” spotlight sincere performances from mezzo-soprano Kirsten Maldonado.
Pentatonix is known for excelling at covering pop hits, creatively twisting tracks to make them its own. Crafting original songs is an understandably more difficult feat, and Pentatonix just falls short of reaching its full potential on The Lucky Ones. Passion comes on almost a little too strongly in the oddly out-of-place “Love Me When I Don’t” and “Bored.” Elsewhere, “Coffee In Bed” pulls off its catchy melody, but the melodrama of the chorus doesn’t quite complement the lackluster lyric “When you get too in your head/ I’ll bring you coffee in bed.”