Text by – DAVIDE LANDOLFI
Translation by – NICOLE SILVYA BOURIS
What makes Beyonce’ glorious is not only her voice nor her gifted moves, but the passion and the conviction that each one of her albums radiates.
Nothing matters if she takes inspiration from one of Britney’s exhibitions or some other one by Lorella Cuccarini: in fact, it is nowadays known that not every single thing that Beyonce’ offers is actually thought by her, nevertheless she is still able to stand out and be unique. And she does it with a visual album.
The visual album, the fifth of her soloist career, takes after her name and it is made up of 14 tracks accompanied by 17 videos, which are the real strength of what can be considered an actual concept album.
It’s not Beyoncé’s first time in these types of projects, as a matter of fact you can easily remember, at the end of that age, the album B-day with which she offered an auto-celebrative dvd, where she put forward all of the tracks’ videos inside the album. This time, what surprised everyone was the total absence of any type of promotion and the unrevealed announcement.
Well after the disappointing sales of the album 4, Mrs. Carter had to find a way to get back up and she did, after stroking with roars, art masterpieces, demolishing balls and the way she conquered Las Vegas, the winner is her: Beyoncé.
The visual album actually was born from her visions, reflections on life, fantasies and childhood memories that the Texan artist decided to share with her fans and the whole world.
The main goal of this album is to look for beauty through imperfections (Pretty Hurts), to feel woman in every single aspect even the most corporeal and sexual one (Partition) and at last to share genuine feelings (Jelous).
Whoever expected the same old wind ruffling her hair and the typical hip flicks has to change his mind because Beyoncé is a very different album from the previous ones: the diva plays the role of a concept artist where her sister’s influence, Solange, who has always been considered a niche artist, is very clear, evident and unmistakable.
The fierce aspect is obviously not missing: it has become a trademark. But this fifth album has something more to tell.
You get to perceive the most deeply hidden part of her soul, completely nude. The soul of a woman that is probably tired of all of the hype and the ingenious machines behind her works, that presents herself without any frills and, this time, winking at hipster and indie productions.
Obviously high level productions still characterize the album: Timbaland, kind of unrecognizable, in The Dream, the ever lasting friends Justin Timberlake and Pharell Williams that join in the poppish Blow, Jay-Z’s featuring in Drunk in Love, which reminds us the unforgettable Crazy In Love, Mine feat. Drake or Superpower feat. Frank Ocean, where pathos and transportation get to a climax.
After demonstrating to the whole world of being a wide-ranging performer, Beyoncé, confirms her artist status giving for the first time importance and credibility to one of her projects. That thin hypocrisy in Pretty Hurts, becomes completely vain, “Perfection is a disease of a Nation” does not correspond to Mrs. Carter and all her discs’ obsession for perfectionism.
Summing up, Beyoncé showed the whole world that other than her great legs and her famous ass (? rear end) there is more, much more.