BEYONCÉ ALBUM RENAISSANCE

[Shiva*]

Je n’écoute rien d’autre à vrai dire. She did that.

[Mickey']

Pareil: c'est un album exceptionnel. Toute sa discographie me parait (à chaud bien sûr, on verra avec l'épreuve du temps) assez fade à côté de ce projet.

Alien Superstar est au passage peut-être la meilleure chanson de sa carrière.

[MarAzul]

J'ai un léger problème de rythme: l'album est long, j'ai un petit peu de mal à me l'enfiler, donc je me fais généralement deux sections, mais du coup Church Girl (mon flop du disque), Virgo's Groove et Plastic Off The Sofa (pourtant une de mes préférées), s'en trouvent un peu coincées dans le milieu, j'ai du mal à connecter le pré-Break My Soul avec le post-Move. Mais c'est vraiment parce que râler est mon sport national. 

 

Quel album, sinon!!! Il creuse encore plus le sillon perfection qu'elle trace depuis 10 ans maintenant. Je suis tellement heureux, c'était pas un exercice facile de sortir un album dance de plus d'une heure sans faire dans le gimmick caricatural (on y sombre brièvement par moments), mais elle l'a fait. C'est fou cette existence, elle sert vraiment TOUT à ses fans, c'était déjà la meilleure came du marché en 2013 mais aujourd'hui elle n'étale même plus au marché, elle est juste occupée à détruire son record précédent, que personne ne peut approcher, encore et encore

 

Mes faves: Alien Superstar, Cuff It, Plastic Off The Sofa, Heated, Thique (!!!), All Up In Your Mind, Pure/Honey, Summer Renaissance

[Charlie Ray]

Franchement, il y a beaucoup de chansons moyennes et/ou datées dans toute sa discographie, c'est fou...

 

Bref, enfin un album qui me convint totalement. 

[Sioux75]

Ma critique de son nouvel  album en un mot : DÉLICIEUX.

[buen158]

Un album plus marquant que les 2 prédécesseurs surcotés. Mais la Beyonce plus spontanée de l'époque B'Day et 4 me manque. Je la trouve maintenant trop souvent indigeste, aucun travail mélodique, et dans un perpetuel exercice de style qui rend sa musique fake et sans grande émotion. Même ses titres dansants paraissent robotiques et peu fun. 

 

3 excellents titres pour moi passeront sans aucun doute l'épreuve du temps : Virgo's Groove / Plastic Off The Soda / Cuff It (en gros, quand elle fait l'effort de revenir à des concepts simples et mélodieux). Merci les années 70 au passage.

Je retiens dans une moindre mesure Pure / Honey, Summer Renaissance malgré le fait que les paroles soient ridicules, Break My Soul, et peut etre Thicke bien que musicalement très pauvre.

 

Le reste ne passera pas à la postérité et sera vite consommé, vite oublié. Rien d'intemporel là dedans, et c'est ce qui fait généralement les grands standards.

[*Tom*]

Cuff if

Cozy

Alien Superstar

Virgo’s Groove 

Heated

Break my soul 

Honey 

Summer Renaissance 

Toujours en boucle ! 

[bee-licious]

Alien Superstar/Virgo's Groove ❤❤❤❤

Cuff It 

Tchique ❤❤

Pastic Of The Sofa

Heated ❤❤

Cozy ❤

Move

I'm That Girl

Honey

 

Et les autres toujours aussi appréciées

[Cunt]

RENAISSANCE est l'album de 2022 dans 30 classements musicaux, dont celui de GRINDR .

 

 

 

Citation

1.
Beyoncé: Renaissance
Dance music’s liberatory powers are palpable when the lights go low, as the sweat trickles down the small of your back. Renaissance revels in that emancipatory magic, as Beyoncé lends her voice to a Harlem vogue ball, bathes in undulating R&B melismas, and spits over four-on-the-floor rhythms, seamlessly threading it all into her own resplendent cosmology. Watch her golden falsetto levitate on the roller-rink sparkle of “Cuff It.” Feel how a jagged dembow riddim slices through her velvet melodies on “I’m That Girl.” Or let Bey’s demands to release earthly anxieties on “Break My Soul” compel you into movement.

Beyoncé owes the grandeur of her latest reinvention to her queer Black forebears, who fought hard for the refuge of this relief. For many of us, the club is more than just a night out; it’s a nexus of community, a financial ecosystem of survival, and most importantly, an obligatory pleasure practice. Bey captures much of that here, citing her ancestors and contemporaries, sometimes leaving us longing for their actual presence. There are tributes to ballroom DJs, producers, and drag queens Kevin Aviance and Kevin Jz Prodigy, as well as appearances from disco glitterati like Grace Jones and bounce music idol Big Freedia. Each interpolation is potent and precise, yielding a DJ mix and history lesson all at once.

Over the years, Beyoncé’s music has served every function: It can lift a disheveled spirit, vault femme erotics, or treat the wounds of a devastating relationship. But Renaissance eclipses Bey’s previous statements of hard-won self-love and romantic resilience. It does more than revere the dancefloor; it bottles its joy, conviviality, and verve, all while transcending the condition of homage. Its affirmations electrify the body, coursing through the veins like a life-saving shot of adrenaline: Consider the lines “Don’t even waste your time trying to compete with me/No one else in this world can think like me” on “Alien Superstar,” or, “It should cost a billion to look this good” on “Pure/Honey.” As the world burns, Renaissance invites us to remember what it’s like to feel good. -Isabelia Herrera

https://pitchfork.com/features/lists-and-guides/best-albums-2022/

 

Citation

1.Beyoncé, Renaissance
The wait for the seventh proper Beyoncé album was as long as the finished product is great. Like the best Bey releases, Renaissance feels as if it’s been in the oven for ages, but it’s come out at just the right time. It’s an achievement on multiple levels, an effortless excursion into half a dozen permutations of dance music, a seamless playlist, and a loud reminder that Black auteurs and their experiences tilled the foundation the art form grew from. It’s a face-melting display of vocal excellence, full of flawless runs and perfectly placed harmonies. Every beat delivers a musicology lesson: Closer “Summer Renaissance” draws a line connecting Donna Summer and Giorgio Moroder’s “I Feel Love” to video-game music and ’90s house; “Virgo’s Groove” touches on the beefy French house of Daft Punk but also Tame Impala’s psychedelic dance-pop. While it’s managing all of that, Renaissance pays tribute to queer Black performers across decades in a year marred by anti-LGBTQ rhetoric and acts of violence in and outside community spaces. Its technical excellence will be studied, but its comfort in honoring queer history while singing about heterosexual monogamy in marriage deserves every bit as much scholarship.

https://www.vulture.com/article/best-albums-2022.html

 

Citation

No 1 – Beyoncé: Renaissance
At last, a post-pandemic party album we could all get behind, as the artist rode her glittery horse through house, disco and ballroom culture to reimagine Studio 54 in her image
Over the last 20 years, very few artists can claim to have operated at the same level as Beyoncé Knowles-Carter. A global icon since her teenage days in Destiny’s Child, her name has become synonymous with empowerment, glamour and a tireless work ethic bordering on the seemingly superhuman – a reputation she deepened over the past decade by releasing two radically personal, political and deeply referenced albums in Beyoncé and Lemonade.
In a pandemic, though, even the most accomplished of artists are allowed to go back to basics, to dig for the things that simply make them feel good. “Creating this album allowed me a place to dream and to find escape during a scary time for the world,” Beyoncé wrote in a rare letter to her fans when she announced her seventh album, Renaissance. “It allowed me to feel free and adventurous … A place to be free of perfectionism and overthinking.” As Beyoncé rides her glittery horse through the middle of her very own Studio 54, it’s clear that two decades into a multifaceted solo career, now in her 40s, she is still intent on finding new parties to make her own.
And party she does. Capturing the unspoken connectivity that so many of us crave from the club, Renaissance sees Beyoncé at her most lyrically playful, political by destiny rather than design. Break My Soul, the dance single of the summer, felt faintly ridiculous – a millionaire inviting us to “release your job!” amid a developing cost-of-living crisis – but nonetheless it resonated with a post-pandemic re-evaluation of personal priorities. Cuff It, the TikTok challenge sensation and roller-disco big sister to 2014’s Blow, also unapologetically threw caution to the wind, seeking out chaos in commitment: “I feel like fallin’ in love / I’m in the mood to fuck something up …”
Like an expert DJ set, Renaissance was sequenced and blended to create a sense of proper nighttime immersion, resisting the lull of the smoking area. There are no ballads, just endless horny bops: Church Girl invites you to “pop it like a thotty”, while America Has a Problem twerks its way around a skittering blend of trap-rap and 90s techno, dancing like everybody is watching. Only Plastic on the Sofa comes close to being genuinely lovey-dovey, but it’s still deeply rooted within the record’s lane of cheeky, purring self-celebration: “I think you’re so cool / Even though I’m cooler than you,” Beyoncé giggles at Jay-Z.

With minimal features from heteronormative guests, Beyoncé appears to have recommitted to Destiny’s Child’s recommendation that you leave men at home if you want to have a good time. Borrowing from Chicago house, Detroit techno and New York disco, the album is a tribute to the influence and endurance of the Black LGBTQ+ community, made in collaboration with producers and samples whose lived experiences and historical weight bring gravity to the sound. Arguably the first song to successfully interpolate Right Said Fred without invoking full-body cringe, Alien Superstar is a dramatic, pose-holding homage to ballroom culture, as is the orgasmic, shape-shifting stomp of Pure/Honey, which samples drag queen Kevin Aviance’s 1996 track Cunty.
Cozy, one of the record’s highlights, at first appears to be another chest-puffed self-love anthem (with a stair-climbing beat not dissimilar to Mr Fingers’ Mystery of Love), but it expands into a perceptive embrace of trans-inclusive womanhood: “Might I suggest you don’t fuck with my sis?” Beyoncé sings before listing the colours of Daniel Quaser’s Progress pride flag (designed to acknowledge Black trans people and those lost to the Aids crisis within the wider LBGTQ+ community). It’s a note of solidarity in the face of unjust threat, a lyrical theme that has always suited her well.

Renaissance proves two things: that turning 40 isn’t the artistic death knell that a sexist industry may present it as, and that music of great emotional and historic resonance can still come from a place of fun. By shimmying away from expectation, Beyoncé has created another glimmering facet in the immaculate disco ball of her artistry.

https://www.theguardian.com/music/2022/dec/23/the-50-best-albums-of-2022-no-1-beyonce-renaissance

 

https://www.rollingstone.com/music/music-lists/best-albums-2022-list-1234632387/bad-bunny-un-verano-sin-ti-2-1234633065/

https://www.nytimes.com/2022/11/30/arts/music/best-albums-renaissance-bad-bunny.html

https://www.latimes.com/entertainment-arts/music/story/2022-12-04/best-2022-20-albums

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