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The sadder Pink gets, the better the big, rocky roar that characterizes much of the disc sounds.
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Pink continues to make everything she touches her own. She uses brains and brawn to turn the mainstream into a complicated place.
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Whether struggling with sobriety or confronting her own meanness, Pink has never been less cool: She's hot-blooded throughout, and it suits both her pipes and a female pop genre that rarely embraces this much tangible pain.
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Ms. Alecia Moore turns tragedy into a huge artistic coup once again on the only somewhat inaccurately named Funhouse.
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On her confident fifth album, the multiplatinum hitmaker attacks her recent divorce in all styles.
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Give Pink three spins and half a chance and by track five's killer New Order riff, you'll be singing 'Please, Don't Leave Me' back at her.
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If the album doesn't always make that point in its words, it consistently makes that point by being as fun a pop record as Pink's albums tend to be.
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Anything that reduces Pink's in-your-face presence, and that includes a preponderance of slowed-down, tarted-up examinations of divorce, is probably an ill-advised move.
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Funhouse is more haunting than amusing, but the solidarity that comes along with her recent divorce serves as the effort's muse and proves to be her best partner in life.
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Funhouse is a ride, empowered by her post-divorce freedom. In a way, that does make Funhouse unique among divorce albums, as it's the first to concentrate on liberation rather than loss--but if she was going to go in this direction, Pink may have been better off not pretending that she's bothered by the breakup.
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Perhaps Funhouse is a victim of its own excess: it may be inevitable that an album of 14 songs with more than a dozen credited writers will end up as hit and miss, as messy as this.
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Her new album lays into her ex-husband with devilish choruses and potent hooks.
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Funhouse would be more fun if Pink went easier on the bad-love songs.
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Frustratingly, the sound and the fury is followed by a string of damp ballads charting her split from her husband, but Funhouse is a solid album nevertheless.
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The bigger the gamble, the stronger she feels. By the end of the record, she’s lassoing the moon, getting through her loneliness the way she got past teen pop: by sheer force of will.
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The otherwise likeably raunchy and bratty Pink is now officially walking a fine line, leaning dangerously close to the humdrum.
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Angst is very well in small doses, but over an entire album it can start to grate.
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In the end, Funhouse bites off more than it can chew, but it never chokes on its ambitions: it shows Pink as one who is unsure of her post-marital identity, hopping around from emotion to emotion without ever settling onto a state of stability until the album’s well-timed closing moments.
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Even though Pink oozes disappointment in herself and others, her music mostly fails to keep up.
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Pink can reach unusually stirring heights when in the right register. That register, on Funhouse, is something close to despondence with a lot of tiredness thrown in--just enough to make Pink forego her instinct for winking and simply sound pained instead.
Awards & Rankings
User score distribution:
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Positive: 146 out of 175
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Mixed: 9 out of 175
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Negative: 20 out of 175
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Aug 3, 2012
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Nov 7, 2012
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Jun 11, 2011