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The latest chapter in Beyoncé's career-long plan to conquer all genres while remaining unstintingly loyal to hip-hop and soul, this album shows Beyoncé dispatching hard rock, country (with a Mardi Gras Indian assault!), indie art snobbery and wimpy SoundCloud R&B, even as her six-inch heels remain planted in the funky-melodic style she essentially invented. It's the music, however, that sustains Lemonade's influence. From the minute the deeply complex "visual album" version aired on HBO, fans claimed Lemonade as the culmination of a century-plus's worth of African-American women's truth-telling, connecting Toni Morrison's visions to the striking imagery in films like Daughters of the Dust to the subversive celebrity of current icons like Serena Williams.
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Who but the Queen of Fierceness could have released an album whose impact on public discourse would exceed that of any other recent pop-cultural event - sorry, LeBron and Captain America - this year, when the album is supposed to be dead, its encompassing magic disabled by the streaming economy and our shattered attention spans? Lemonade is Blonde on Blonde for the women who know how to get that perfect shade, Exile on Main Street for the communities of color who've felt the effects of internal American exile their whole lives. Hannigan's high C, plucked from the frigid air, might be the most beautiful note you'll hear all year. The final scene finds Ophelia calmly walking out into the falling snow. When she sings "you have sun-blasted me," the orchestra shatters into twinkling shards of sound. Sung by the fearless Hannigan, Ophelia divides her story into past, present and future, speaking of a time without music, the inadequacy of language and a transformative love. The text, by Paul Griffiths, adopts all the words (about 480 of them) Shakespeare allotted to Ophelia in Hamlet, shuffled to create a fresh, confident character with cracks of fragility. The synergy between music, words and performers rarely rises to the extraordinary level found here in Danish composer Hans Abrahamsen's 35-minute song cycle, let me tell you, which features soprano Barbara Hannigan with Andris Nelsons conducting the Bavarian Radio Symphony Orchestra. Paak's irrepressible will to celebrate - a spirit bright like summer, and deep like the ocean off Malibu. This is irresistible pastiche, and the glue is Anderson.
These lucid grooves owe a debt to Motown especially, bringing Marvin Gaye to mind with grooves at once detail-obsessed in their assemblage and effortless in their flow ("The Waters" features BJ the Chicago Kid, who's breathing new life into the storied label). Rapping, singing drumming and producing, he pulls from the histories of R&B, rap, pop (he even namechecks Hall & Oates) and old surf movies for an ecstatic, immersive toast to the West Coast. This is an auteur's album, with his stamp on every part of it. Dre's G-Funk as they do to Kendrick Lamar's California conscious rap, but they're unmistakably. Paak forged 16 songs that belong as much to Dr. Dre's Compton in 2015, he caught it on his sophomore solo release. If the young rapper made a wave with his buzzed-about features on Dr. For example: hospitals, nursing homes, university campuses, building maintenance firms, facilities management companies, utilities, local government, airports - the list is endless.At the start of the year, in the dead of winter, Anderson.
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