PinkPantheress
Heaven knows
60‐‐100点相当が出ている
Dork が満点
まだ心地よさは健在なものの
2回目にはちょっと飽きた感じの自分がいた。
去年新星としてチャートを駆け上がり、
ほかのアーティストにも「流行」としての影響を与え、
今、ピークを過ぎて次の一手が成功するかどうかのきわどい位置
https://www.nme.com/reviews/album/pinkpantheress-heaven-knows-debut-album-review-radar-3533982
Pink has always been a private character, one who doesn’t even like people knowing her birth name; it makes sense that there are moments of remove on ‘Heaven Knows’ that allow her imagination to flourish. ‘Feel Complete’ depicts a fictional account of alcoholism with a pounding drum groove is paired with a cooing, 90s’-style R&B flourish. ‘Ophelia’ and its harp solo shrouds the song in a surreal atmosphere – complete with a killer narrative twist.
There’s also plenty of moments where Pink challenges her own sound, one that has previously seen her pigeonholed into a ‘Y2K meets drum ‘n’ bass’ label tirelessly. There’s organs, tablas, drill bass slides, and rock-inspired drums on ‘Heaven Knows’, all of which suggest a commitment to artistry that will continue beyond this debut. Yet, equally, these instrumentals can be so evocative and imaginative that it’s difficult for guest features to find their feet. In itself, that’s a testament to Pink’s individual flow and production style, but it does a disservice to several songs on the album.
The starry, breakbeat-inflected ‘Nice To Meet You’ has one of the best choruses on ‘Heaven Knows’: “I pray that I’ll die before my baby / I’ll take a risk if anyone tries to touch my baby”) – yet Central Cee’s monotone delivery feels mismatched and lacklustre against Pink’s effortless charisma. Moreover, on opener ‘Another Life’, Pink squeezes in church organs, jungle beats and a squealing guitar solo, but Rema’s flow stalls the fluid movement of the song.