Nothing special

The wild hair is gone but the surprises are not

The wild hair is gone but the surprises are not

Beyoncé’s super odd album

Article: Destiny Kaus – A&C Writer

[dropcaps round=”no”]A[/dropcaps]pparently, I live under a rock, because I definitely did not know that Beyoncé released a new album on Dec. 13. But, I am not completely at fault for being ignorant of this fact, because she released her self-titled, visual album, Beyoncé, in secret. Instead of hyping up her new album prior to the release date, Beyoncé kept it all quiet until she released her new album via iTunes.

But, why on earth would she keep her new album a secret? Personally, I believe that when people are celebrities, they can do whatever the heck they want. If Beyoncé wanted to keep her album a secret until the release date, then she could do just that.

Or, perhaps she wanted to connect with her true fans at a deeper level, because, in reality, fans who really love Beyoncé will find out about and listen to her album regardless of whether she advertised it months prior or not.

Anyway, despite my obliviousness about this new album at first, I had a little listen to Beyoncé and came to the conclusion that though it has a couple shining songs, it is super odd. Within the 14 tracks and accompanying 18 music videos, two songs are great: “Haunted” and “Blue.” These songs showcase sincere musicality and vocal talent.

“Haunted” begins with a slow piano melody and the pure, soft vocals of Beyoncé and builds to Beyoncé belting out powerful notes at perfect pitch.

At the end of the album, Beyoncé reveals her unique song “Blue.” Beyoncé’s voice, accompanied by the killer background vocals of her own daughter, Blue Ivy (yes, that is her real name), mesh together beautifully in perfect harmony. This is one song I could listen to over and over. As for all the other songs, they’re mediocre at best, while some of them, such as “Drunk in Love” and “Blow,” are just super odd.

“Drunk in Love” starts out with what sounds like a creepy baby trying to cry melodically. It’s bizarre and it never leaves; it keeps coming back in each chorus. If it wasn’t for Beyoncé’s sick rap skills in this song, I would never listen to it again, because, dang, that creepy baby freaks the heck out of me.

And the song “Blow”? Well, I bet anyone can guess what that song is about before they even listen to it. If not, I’m sure people will understand after they hear the lyrics “I can’t wait till I get home so you can tear that cherry out.” Crude.

To mirror the oddness of her songs, Beyoncé’s music videos are freaking weird.

While it is obvious some of the dances in her music videos have been choreographed, at some points, especially in “Drunk in Love,” Beyoncé’s dance moves look like a seal flopping around aimlessly.

Also in the “Drunk in Love” video, who is Jay Z looking at? He never looks at the camera and frequently looks at the ground while rapping, so it looks like his eyes are closed. Camera shy?

Additionally, the music video for “Ghost” is really quite freaky. At one part, Beyoncé slowly flails around in this skin-tight white tube thing, and, in another part, she’s painted completely black and crawls across the floor. Yikes.

Overall, yes, Beyoncé did have two great songs, but, in an album with 14 tracks, that’s unacceptable in my books. The only aspect of Beyoncé that stood out was its sheer oddness. Otherwise, it just sounded to me like an everyday, ordinary, rap album. Nothing special.

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