by Nico Muhly in The Talkhouse:
At first I was anxious about the description of it as a “visual album,” because these days, which albums aren’t? I’m not sure I’ve ever seen a Lady Gaga video, but I know that her appeal — even to me, not ever having beheld her on purpose — is partially to do with her Visual Presentation. Beyoncé’s songs, on this album, connect to one another not just musically, but via a seemingly personal, almost Forrest Gump-like time-traveling woman’s journey through various eras and — I shudder to say the word — styles. It’s unbelievably ambitious and through-composed; where the music can feel unrelated from one song to the next, the video is especially and carefully elided, and where the video is stylistically at variance from one song to the next, the music itself creates an emulsion between all the various incarnations of Beyoncé, our tour-guide through heaven and hell. Her voice feels, here, stretched in all the best ways, and she is experimenting with various modes of vocal production, vibrato, enunciation, and textual stylization. She is relishing the individual words of her lyrics, and savoring the shapes of the phrases the songs demand of her. When she freaks, as is her wont, a bridge or a second chorus, it is an insane and welcome delight.
Can we start with the statement that I basically loved this album? And then I will go song by song and talk about what, for me, felt like a reinforcement of this love, and where, in places, my love was challenged? I am going to talk, interchangeably, about the music and the videos, as that is how this thing was presented to me, as well as to the poor taxed wi-fi of the rural hotel and its staff. So if you’ve only heard the music, you should probably watch the videos, and if you’ve only watched the videos, you’re probably fine?