Ed Comentale
Janelle gathers all of it — the concepts, the genres, the images, the marketing — under her bright-eyed love of pop’s sloppy democracy, where you can’t tell the difference between chicken and pork, between robots and the real kids, but where the booty never, ever lies.
12y
This very refusal to cohere, to make sense, to play the game of identity and otherness, of harmony and disharmony, makes Bish Bosch this year’s only necessary work of art.
13y
The album is wonderfully uneven and mysteriously unfinished, and while we might look forward to its second half for a sense of balance and completion, I’m content enough to dwell amidst its own jagged remains.
14y
I really hope to hear a lot more from Sharon Van Etten, but not at the cost of her indie canonization, and I wonder how the music business can sustain such acts otherwise.
14y
Indeed, with Biophilia, Björk is doing nothing less than rebuilding the human body itself as a music-making machine, and in this she’s just like every other brilliant pop artist.
14y
It is undeniably an album about “growth,” and it has a way of pushing you out of your comfort zone.
14y
Think of this zero as the massive bedazzled orifice out of which our heroine has spawned a new era of popular culture. Think of it as a great American goose egg out of which now emerges a brave, new super-race of rebel losers.
15y
With efforts like this one, Panda Bear and his coterie have established a genuinely avant-garde movement in America.
15y
Kaputt is a rare work of historical interpretation and pop artistry, full of beauty and wonder.
15y
At best, The King Is Dead is a patchwork of genre exercises, giving listeners little more than a chance to play “spot the influence.”
15y
The whole album is a gorgeous mess, and you’ll immediately want to be dragged through it all over again.
15y
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