Nick Jonas - Last Year Was Complicated

Pitchfork 63

Toward the close of 2014, Nick Jonas was thrusted pelvis-first back into the pop stratosphere. His eponymous second album introduced a rebooted youngest Jonas brother, with comeback singles “Chains,” “Levels,” and “Jealous” offering a “blue-eyed soul with brown eyes” aesthetic steeped in a sexy “tossing the purity ring” sound. With his third studio album, Nick Jonas keeps the pace going. But as the shock and awe of his suddenly-bared pecs fade, does he still stand out in pop's crowd of vaguely soulful, sorta-bad boys?

It’s a format both created and perfected by Justin Timberlake moons ago, where the shedding of the boy-band skin is supposedly everything the artist needed to locate his truest creativity. We saw a similar “Guys, I’m having sex now” pivot from One Direction alum Zayn Malik, whose slightly awkward album nonetheless debuted at number one. After all, no one leaves a success story behind for the pop equivalent of a hippie commune: The motive is to prove success without other bandmates. On Last Year Was Complicated, you can feel Jonas striving to hit his marks.

Jonas enlists Jason Evigan (responsible for co-penning “Chains” as well as Demi Lovato’s “Heart Attack”) for much of the tracks' production and songwriting. While the result is a 12-track standard edition full of potential hits, the brunt of it rests on interchangeable tempos from existing, already-charting singles. “Champagne Problems” could easily be sung over Mike Posner's “I Took A Pill In Ibiza”; “Chainsaw” and “Under You” slot seamlessly over Jonas’ other hit “Jealous,” and with a shift in octave or two, “Don't Make Me Choose” could be a song by the Weeknd.

It's not that he doesn’t stretch out from time to time here. “Touch” is a skirting folktronica track, shifting from guitars and dubs as Jonas smoothly whispers sweet nothings (some flaccid, like “I wanna get inside your brain”). “Unhinged” showcasese Jonas’ ability to craft a solid ballad once the 808s and synths are stripped away. Other experiments, like the Timbaland-lite production of “Voodoo” and Miguel-nodding electro-funk of “The Difference” come across as clunky, trying on styles that aren’t a perfect fit. Still, the experimentation shows some promise.

The eyebrow-raising inclusion of the last album’s hits (“Jealous,” “Chains,” “Levels”) on the deluxe edition serve as a stark reminder: Nick Jonas might have talent and chops, but he’s playing a pure numbers game here, one without much room for big risks or rewards. Perhaps that’s the biggest takeaway from Last Year Was Complicated. We are dealing with a star whose looks and talent became mutually exclusive, and the package is so perfect that it has to live on every shelf, in every store, in every city, in every country. It's a little disappointing for fans who thought he might actually let things get a little, well—complicated.

The Guardian 60

(Island)

Single, sad and highly sexed, Nick Jonas wrote his third solo album in the wake of a breakup and the dawn of his dating exploration. It ushers in a sound best described as bachelor pop. Much like Zayn’s R&B debut, the Disney channel graduate and former Jonas Brother maintains mainstream music’s flirtation with melancholy and leftfield lyrics. Champagne Problems is a tale of excess that banishes Drake’s “trouble at the top” narrative to a neon-lit skyrise Dubai club. Bacon, meanwhile, is an ode to bacon. One of the complications he seems to have encountered in 2015 was the burgeoning parity of womankind: “When did all these good girls decide to be bad?” he laments on Good Girls. There are many quirks to this glossy, compelling record, but unlike Justin Timberlake, who forged his name as a solo act by his affiliation with the Neptunes, it’s not savvy or strange enough to stand out.