In early March, one of Lily Allen's fans tweeted that he was disappointed that her last three singles were "docile pop rubbish". The strange thing was that Lily Allen answered him, and more or less agreed, as she blamed the lightweight pop on the record label and on the radio refused to play the "better stuff".
And certainly, the last three singles have not commanded much tip; compared to the charming troika she seduced us with in 2006; "Smile", "LDN" and "Littlest things".
"Sheezus" is an album that musically sprawls in all different directions, only held together by Lily Allen's so British sarcasm and biting the living poetry. The brilliant lyric about Internet hate on "URL Badman" is a fine example of how she manages a lyrically, a digital 10-century version of The Kinks and Ray Davies analog 60s. The brutal fragility of "Take my place," which is about her tragic miscarriage for almost four years ago, also reaches straight to the heart.
It would be an exaggeration to say that she has mastered all genres. G-funk on "Insincerely yours" marries nicely with her voice, while Afro-pop on "Life for me" is perhaps more exciting idea than results. The rich accordion that characterizes the life-affirming "As long as I got you", however, had been skipped. "Sheezus" is not a bad album, but it's not fully the brilliant Lily Allen that was on her debut.