A cartoonish odyssey bristling with creative energy. The whimsy of the band's debut album is replaced by a biting sombreness very much of the 21st century.
Flowing beautifully from beginning to end, the album in its entirety can feel slightly taxing due to the bloated, overstuffed nature of the songwriting.
For all the merits of Lianne La Havas’s thoroughly lovely and dynamic voice, the album ultimately comes across as lopsided and a little flat.
Inoffensive and unspectacular pop fodder. People will listen to it on the radio and find it agreeable and vaguely evocative and then forget it ever existed.
This is pop music for the mature listener; easy to consume, enjoyable enough, but flimsy and a little watered down compared to Cocker's work with Pulp.
An endearing record of mystery and wonder, deftly inheriting elements from a wide selection of genres that amalgamate to create a category of its own.
This was 50 minutes of anti-climax. Interesting instrumentals are peppered throughout, but they mostly fail to evolve from the opening moments of each track.
Blond flirts with indulgence but just about manages to stay grounded. It’s an account of slight thoughts, vague ideas, and delicate musings.
Shifting smoothly from ’90s R&B to psychedelic funk, Channel Orange is a liberation that Frank Ocean experiences as an artist as well as a man.
Precious little of what makes Gaga special is on show in Joanne. Outrageous, infuriatingly catchy pop anthems are nowhere to be seen; just pedestrian ones.