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Jan 25, 2019Far from reclusive, Weird is a gregarious, idiosyncratic pop album that invites the listener to meet it on its own terms, but Hatfield is absolutely fine if it's rejected. She's cool being on her own.
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Jan 25, 2019The pleasures of Weird reward frequent listening. It is an album that begs repeating as soon as one reaches the last bouncing notes of "Do It to Music."
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Jan 29, 2019The songs are bolstered by a generally unsettled sound throughout. Yet rather than opt for a tumult, Hatfield maintains a persistent pulse and an air of determination.
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The WireMar 7, 2019Weird is more insular, almost cabin feverish in Hatfield’s tendency to celebrate her own company (“All Right, Yeah” and the impossibly wholesome “Do It To Music”) or conversely magnify her own physical flaws (“Broken Doll”). If you hold some nostalgia for Hatfield’s early years but tuned out some time ago, you might get more from this than you expect. [Mar 2019, p.62]
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Feb 11, 2019Veering through infectious reflexions on self-imposed domestic isolation (“Staying In”), being contentedly single (“It’s So Weird”), confectionary-addiction (“Sugar”), rampant life commodification (“Everything’s For Sale”), the fake news-mired polity (“Paid To Lie”), personal body and space dishevelment (“Broken Doll”), these are some of the most consistently likeable Hatfield cuts of recent times.
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UncutJan 25, 2019Now and then she's too laconic for her own good but the self-deprecating humour of "It's So Weird" and "Staying In" hits the mark. [Feb 2019, p.27]
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Jan 25, 2019Weird turns inwards, detailing the 51-year-old’s enduring awkwardness with a self-effacing candour.