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Pink - Funhouse
| Ew |
| ''Guess I just lost my husband/I don’t know where he went,'' Pink declares at the outset of her fifth album, Funhouse. Those lines — from No. 1 single ''So What'' — tell you right off that, yup, this is her Divorce Album. But the lyrics' singsongy cadence implies it's okay if you don’t get too broken up over her breakup. ''So What'' is a great anthem of bluffing and bravado, tailor-made for lovelorn rebounders as the soundtrack for the moment when they're kidding themselves that a night on the town is the best revenge...full text |
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| Boston |
| Pink is a rare bird: a pop star who gets real and gets on the charts. She brings an interior life to factory-assembled fluff and rocks stupid riffs with real soul. Glitzy dance-floor anthems and loaded confessionals go toe-to-toe in her musical playbook. And Pink's got a sense of humor, an immensely appealing and elusive quality among multiplatinum divas, and a great asset - at least for the length of one killer anthem - on "Funhouse," Pink's divorce album, which is out tomorrow....full text |
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| Slantmagazine |
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As divorce albums go, no one will mistake Pink's Funhouse, a chronicle of the dissolution of her marriage to motocross driver Carey Hart, as a Blood on the Tracks-style emotional bloodletting. From the first line of the album, "Guess I just lost my husband/I don't know where he went/So I'm gonna drink my money/I'm not gonna pay his rent," it's clear that Pink is attempting to find some kind of middle ground between taking her breakup seriously and filtering it through the sneering, ironic remove that has characterized much of her work to date. While this doesn't always work to her advantage (the problem with adopting an ironic stance is that it calls any future attempts at sincerity immediately into question), it does give the album perhaps greater thematic heft than any of her previous efforts. What ultimately works best about Funhouse—and what draws the shortcomings of Kelly Clarkson's similarly moody, unjustly reviled My December into sharp relief—is that, despite its surly tone, the album loses none of the massive, punchy hooks that have made Pink one of the most consistent, reliable singles artists of the last decade. Working primarily with Max Martin and Butch Walker as co-producers and co-writers, Pink balances both her emotional reaction to her divorce and her desire to bring a definite rock edge to her pop songs. "I Don't Believe You," which boasts a phenomenal vocal turn that is both vulnerable and accusatory, is driven by a sparse electric guitar riff, while "Please Don't Leave Me" and "It's All Your Fault" are in a similar nervy power-pop vein to "Who Knew" from I'm Not Dead....full text |
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