What are the best songs on ‘BEYONCÉ’? A super-fan’s review

Editor’s note: We asked Hypable reader and Beyoncé super-fan Dylan to review the singer’s just-released album. What follows are his expert impressions of the singer’s latest release.

Beyoncé set the Internet ablaze at midnight on December 13 with the unexpected release of her fifth solo album, self-titled, BEYONCÉ.

There had been so much buzz and hype over the anticipated release of the album, but with 2013 coming to a close, hopes of an album this year were beginning to dwindle. However, when the album dropped on iTunes, the Queen Bey surely did not disappoint. So how good is BEYONCÉ as an album? And how does it compare to her other iconic works?

The album opens with a deep, thought-provoking song titled, “Pretty Hurts.” The song, which is thematically about forcing a perfect body image while creating a damaged soul, is a strong opener vocally and really sets the tone for the rest of the album. You can hear the strength in her voice and that growl that made her previous album, 4, so strong and innovative.

Next, “Haunted” reflects another dark theme, but is coupled with a very electronic beat. The vocals are very deep and low, unlike anything we’ve heard from Beyonce. I can already hear this song playing in high-end clothing stores around malls everywhere.

“Drunk in Love,” the third song on the album is arguably one of the best. Featuring Jay-Z, the track comes with expectations after their list of iconic duets. This one is definitely more intimate than the classic “Crazy in Love” or “Déjà Vu.” Again we hear the strength in Beyoncé’s vocals and the lyrics really delve deep into a sense of emotional turmoil. It’s unexpected for them and that’s what makes it so addicting.

The fourth song on the album is titled “Blow” and after listening to about ten seconds, this song is the clear toe-tapper of the album. This song is the most reminiscent to the iconic Beyoncé sound that the world is used to — bouncy, pop songs that are so easy to dance to. The song has a great beat and the verses flow effortlessly into the chorus making the song irresistible.

There are a lot of collaborations on this album which is something we haven’t seen since “Ego” on her 2008 album, I Am..Sasha Fierce. Collaborations work really well on BEYONCÉ, especially for standout track “Mine” featuring Drake. The track has a great beat and the two voices compliment one another so well, it’s a wonder it took them this long to actually collaborate.

Later in the album, Beyoncé gives us songs like “Heaven” and “Blue (ft. Blue Ivy)” which end the album on both a soft and gentle note, but also let us see into her personal life — including the actual vocals of her daughter — something that she is known for being very private about. These songs fit in contrast to the rest of the album because they are innocent and really tug on your heart, which is something we haven’t seen from her since 4. These tracks push that envelope and we can’t help but feel as if Beyoncé herself is wrapping us in her loving arms.

What I really noticed about BEYONCÉ is that you actually cannot break it up and judge it single-by-single. It is exactly what she wants it to be — a body of work. You can’t say one song is better than the next because they work off of one another. Where songs like “Jealous” is dark, “XO” is light and comforting. Where “Partition” is playful with a great beat, “***Flawless (ft. Chimamanda Ngozi Adiche)” is a harder R&B feel.

Mix the audio with the visuals of the music videos, and you have exactly what Beyoncé wants you to see: an experience with a story that takes you from A to Z and everywhere in between. We see artistry at its finest, home videos of Beyoncé as a child, and playful videos of her and her crew at iconic landmarks. Taking any one song out of the album ruins that entire story dynamic, and Beyoncé is an expert at creating that perfect narrative.

One thing that was clear to me with this album was that there isn’t a specific single being pushed to stand out above the rest. There’s no “Single Ladies” or “Crazy in Love” on this album, and I think that’s the way she wants it. She doesn’t want the world to buy just the one, most popular song and forget the rest. She wants the world to buy the entire body of work and take the visual, emotional journey with her from beginning to end, frame by frame, note by note.