Beyoncé is Beyonce's self-titled fifth studio album that was released on December 13, 2013 by Parkwood Entertainment and Columbia Records.
The album was developed as a "visual album" and the tracks are accompanied by non-linear short films that illustrate the musical concepts conceived during the album's production.
Tracklisting
- Pretty Hurts 4:17
- Haunted (contains hidden track "Ghost") 6:09
- Drunk In Love (featuring Jay-Z) 5:23
- Blow 5:09
- No Angel 3:48
- Partition (contains hidden track "Yoncé") 5:19
- Jealous 3:04
- Rocket 6:31
- Mine (featuring Drake) 6:18
- XO 3:35
- Flawless (featuring Chimamanda Ngozi Adichie; contains hidden track "Bow Down") 4:10
- Superpower 4:36
- Heaven 3:50
- Blue (featuring Blue Ivy) 4:26
Album Background
Chart Performance
Critical Reception
"Beyoncé" received widespread acclaim from music critics.
Critics generally commended it as thematically and musically bold, as well as emphasizing its visual aspect and surprise release; many said it was her magnum opus.
At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream publications, the album received a high score of 85, based on 34 reviews.
The album's exploration of sexuality was particularly well received by reviewers.
The New York Times' chief critic Jon Pareles described the tracks as "steamy and sleek, full of erotic exploits and sultry vocals" noting that "every so often, for variety, they turn vulnerable, compassionate or pro-feminist."
Caitlin White, writing for The 405, characterized Beyoncé as a feminist text. She noted that the tracks demonstrate her desire to retain complete sexual agency, while also forgoing the expectations of pop songcraft by placing female pleasure at the forefront unquestioningly.
Robert Christgau admired the album's "sex sequence" of songs, where for "over seven well-differentiated tracks", Beyoncé "performs the unlikely feat of conveying an open-ended eroticism that varies because [she] knows eroticism does, for each of us in our individual responses as well as for her".
PopMatters' David Amidon similarly praised the album's honest, highly sexual nature, observing it was "her first attempt at bridging an audience, making music that makes the men want to hear what she has to say and the women feel like they can say it to men as well."
Other reviews recognized that the album eschewed contemporary R&B in favor of more experimental compositions.
Pitchfork writer Carrie Battan wrote that Beyoncé was "exploring sounds and ideas at the grittier margins of popular music" and rejecting "traditional pop structures in favor of atmosphere".
Spin's Anupa Mistry felt it was "more textured than its predecessors in both sound and content", and applauded Beyonce's transition to a maturer sound of "big-hook message pop, multi-directional, mood-shifting suites and delicately resonant R&B ballads".
Noting the lack of "guaranteed hits", NME believed that the "low-key, moody production throws the spotlight on the words and the images brought to play" and described it as her most experimental work to date.
Rolling Stone's pop critic Rob Sheffield found Beyoncé's boldness among its best attributes, believing the album is at its "strongest when it goes for full-grown electro soul with an artsy boho edge."
Mikael Wood of Los Angeles Times highlighted a desire to push creative boundaries among the tracks and admired "how the music similarly blends the intimate and the extravagant."
Entertainment Weekly writer Nick Catucci concluded that the album was characterized by "clashing impulses—between strength and escape, megapop and fresh sounds, big messages and resonant lyrics."
Praise was also reserved for Beyoncé's vocal performance.
The Telegraph's Neil McCormick declared Beyoncé as "one of the most technically gifted vocalists in pop" favoring her "gospel power, hip-hop flow and [huge] range". He was particularly complementary of the vocal restraint displayed across the tracks that was absent from previous releases.
Kitty Empire of The Observer noted the diverseness of her vocals on the album's up-tempo songs and found the singer ranging between "squeaky sexed-up falsettos, hood rat rapping, wordless ecstasies and effortless swoops".
Clash regarded her voice most effective on the album's ballads, where they commented on how diversely her vocals conveyed feelings of love and described her "power and control [as] breathtaking."