My knowledge of Beyonce and her history is pretty nil, to be honest. I report that without any of that whack pride that the cool kids have in their own ignorance for popular music; I’m out of the loop, but this isn’t an aesthetic decision meant to flex on people how outside the bun I am. That said, I did enjoy the synth and drum work in that “Put a Ring on it” and in general have appreciated her as a public figure, especially in a sea of inane celebrities, marketed for some ephemeral (or surgical) quality like their looks, rather than any meaningful contribution. But whatever gets you through the day, I guess. Hell, I don’t give a shit to be honest.
So mark this as my first foray into anything Beyonce oriented, other than catching a stray track here or there. I have no idea what the original sounds like in any case here, at least to the extent that I feel capable of a competent comparison. Instead, I’ll take the Harold Bloom approach and write about this as text only, without context as clues. These tracks have a lot of movement, bouncing cleverly from point to point, an often asymmetrical pop experience, which lacks parallel. Perhaps Beyonce and her team of producers work to compose in that manner all the time, moving from part to part, each refrain a little tweaked from before and stacked with atmospheric sounds chiming in the background, but I doubt it. This is music for the digital age, a short attention span explosion of ideas in a stripped down mini-maximalist (midimalist?) production; there is a lot happening here, but it never quite overwhelms.
Listen below and you be the judge.