User Score
7.6

Generally favorable reviews- based on 53 Ratings

User score distribution:
  1. Positive: 40 out of 53
  2. Negative: 8 out of 53
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  1. Nov 2, 2013
    4
    Cher's style of singing in "Closer to the Truth" comes off as if she's leading an army of misunderstood followers in her various causes. Hers is a brutish, preachy, overbearing voice, not at all feminine or beautiful. It's got a harshness that repels me, but I know it must be angelic to her legion of fans. The first seven of the eleven tracks are familiar EDM anthems, many with autotuningCher's style of singing in "Closer to the Truth" comes off as if she's leading an army of misunderstood followers in her various causes. Hers is a brutish, preachy, overbearing voice, not at all feminine or beautiful. It's got a harshness that repels me, but I know it must be angelic to her legion of fans. The first seven of the eleven tracks are familiar EDM anthems, many with autotuning manipulations, breaking no new ground there. The final four tracks have varying tempos but almost always get that dance throb thing going again and show no versatility of vocal variation, still brutish though at times soft. And if you get the three bonus tracks you're back to the EDM party again. Fans may love this stuff but it's done nothing to win me over. Expand
Metascore
61

Generally favorable reviews - based on 6 Critics

Critic score distribution:
  1. Positive: 1 out of 6
  2. Negative: 0 out of 6
  1. Oct 10, 2013
    60
    The first half of the album is a similar campstravganza [as single Woman's World]--Take It Like a Man indeed--but the second peters out into MOR.
  2. Oct 10, 2013
    40
    A functional album it may be but Closer To The Truth does nothing to puncture the illusions which so many love about Cher and that, ultimately, may be the best anyone can expect at this point.
  3. Oct 9, 2013
    60
    While Closer to the Truth is smartly frontloaded with a heap of glossy South Beach bangers--including the fiery, heavenly heave of “Take It Like a Man,” the noir throb of “Dressed to Kill,” and “Red,” which hits you like a rum punch to the face--the second wind of her 26th album, presumably designed for the drive home from the club, seems to insist she’s more than a remix ingredient or Auto-tune fodder.