WORD was out that Beyoncé Knowles’ fifth studio album was proving difficult.
The occasional track, such as Grown Woman, featured in a Pepsi commercial, and Standing On The Sun was used to promote H&M and L’Oreal. But as far as the fans were concerned, noting of note would be released commercially in 2013.
Then, over night in December a “visual album” was released exclusively on iTunes, with no prior promotion or announcement. Many still prefer physical discs and artwork with their music, and their wait is now over.
The intense popularity of Beyoncé Knowles instantly propelled the album to the top of the iTunes charts. But more ambivalent fans will be dismayed with the album that dared not be previewed.
Beyonce’s music has often had a visual aspect. Indeed, the Single Ladies video is perhaps the most iconic pop film of the past decade. But many will feel that the performance and technical wizardry of this set held greater currency in this project than finding a decent tune.
As expected Knowles revisits her usual theme of self-empowerment and sexual equality. Responsibly, a portion of Chimamanda Ngozi Adichie’s powerful speech We Should All Be Feminists, is incorporated within the work.
Likewise a sample of Ed McMahon introducing a young pre-Destiny Child Beyoncé as “the hip-hop rapping Girl’s Tyme” illustrate an artist with a long pedigree. However, less responsible if entertaining are Beyoncé’s Monica Lewinsky lyric on Partition.
Saucy lyric and clever sample aside, the album is in need of one decent song, something one can hum along to or even remember. Approach with caution.
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