The release Katy Perry's new album Witness might have been peppered with drama.
Think Taylor Swift diss track 'Swish Swish', Swift's shady response finally releasing '1989' on Spotify on the day Perry's album drop, and a few cringe-worthy gaffes – but the reviews for the full record are here, and it's safe to say that the jury is out on this one.
Some critics have taken aim at Perry's "purposeful pop" label while others think it's full decent pop bangers. We've rounded up some the reviews below:
Perry is less like the so-unusual, candy-coated Cyndi Lauper "Teenage Dream", and is more an anonymous disco crooner, a breathy moderator leading us through passionate but muted songs longing and empowerment.
The LA Times
Witness, whose singles keep stalling out like Trump's travel ban, diagnoses only Perry's desperation for a hit.
What we don't have here is the kind obvious smash to which all America would plainly say: Baby, you're a firework. But the album counts at least as a sparkler — the kind you hold in your hand for 45 seconds in the summer, if not the enduring, inset kind Marilyn extolled.
While her "edgy" new image might not appeal to everyone, K Pez still has a flair for tunes that quickly seep into the collective consciousness – and it's kookier than ever.
Everything about Witness – starting with its extended promotional cycle and ending with the album itself – feels like Perry trying to run away from her strengths.
Forty tracks were recorded and boiled down to 15 but there isn't an original idea between them. There are so many different writers and producers involved that whatever makes Perry an individual talent has been lost in the mix.
The commitment to pure, competent entertainment continues on Witness, easily the most enjoyable major chart-pop album so far this year (to be fair, there hasn't been much competition).
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