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10.0
84441
10.0 |
Evening Standard
Spalding has created one of the most exciting, musically inventive things you’ll hear all year. Stupendous
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9.0
84665
9.0 |
PopMatters
A beyond category masterpiece that sounds better than if Joni Mitchell hired Living Colour as her band and then grafted it all onto a hip-hop sensibility of sorts
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9.0
86475
9.0 |
Gig Soup
One of the most exciting and unpredictable 45-minutes of music you're likely to hear this year
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8.6
84398
8.6 |
Pitchfork
People will likely call this art-rock or performance art, but D+Evolution advocates an almost indescribable ethos
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8.3
84464
8.3 |
Pretty Much Amazing
A tight package that should appeal to fans of Janelle Monáe and Joni Mitchell’s more jazzy endeavors, or anyone who is looking for some well crafted, ambiguous music, with elements of jazz, rock, and folk accompanied with some stellar singing
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8.0
84568
8.0 |
NOW
In this current moment, when the us vs them of identity politics is at a sharp pitch, it's an enlightened view for an artist to put forth
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8.0
84396
8.0 |
All Music
While it would be reductive to call Emily's D+Evolution a retro album, Spalding's harmonic and melodic content and production aesthetics definitely have a '70s quality
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8.0
84399
8.0 |
The Irish Times
It’s a loud, funky, cosmic freak-out kind of record, charting a course somewhere between Joni Mitchell, Kate Bush, Cream, Prince and Stevie Wonder
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8.0
84400
8.0 |
Uncut
This semi-autobiographical concept album pushes her deep into art-rock territory. Print edition only
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8.0
84401
8.0 |
Rolling Stone
It’s a scorching art-pop statement
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8.0
85421
8.0 |
Spin
One of the most alt-friendly jazz cycles you’ve ever heard
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7.0
84395
7.0 |
Exclaim
Esperanza Spalding is again flexing her range, showing that her playing style and voice can find a home in any genre
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7.0
84733
7.0 |
Spectrum Culture
Esperanza Spalding has gone and gotten weird and it’s the best thing she could have done
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6.0
84397
6.0 |
The FT
A deeply felt outing into alt rock, presented under the alter ego of Emily D and co-produced by Bowie collaborator Tony Visconti
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