This album is the most interesting, diverse and yet somehow most homogeneous album of their career. That you can do that with 80 years is amazing, but you can hear at all on the disk. "Moonbeams" is a sound collage with electric elements in which they scream a lot and moaning, on "Cheshire Cat" mixed with Lenny Kravitz, a typical, lyrical Yoko-rock song. But then it will be great: Tune-Yards provided "Tabetai" with a distinctive bass line, a bunch of percussion, ranging from the subtle to the bombastic and blow in glass bottles. That the song has in his vocal line actually about little melody, this actually falls not on. It is the most poignant song on the album.
"Bad Dancer" takes up a bit of the Ono songs that were reached in recent years, again and again the no. 1 of US club charts. On the lullaby "Little Boy Blue" return Tune-Yards and make him by similar means to the second highlight on the album. "There's no goodbye between us" is an older song, a demo version appeared in the nineties on. Sean Lennon makes him a contemporary pop song. Drummer and DJ Quest Love are the avant-garde poem "7th Floor" featuring a cool touch and makes it really only about music. For me the third highlight, however, where you have to give more time to unfold.
The next pop song called "New York Noodle Town" here sounds Yoko's voice pleasant as rare, one could almost speak of radio capability. A next highlight is the piano ballad "Take me to the land of light" - Sean Lennon's piano merges with Cello and discreet other sound elements, an enormous increase in the end. Had Antony Hegarty sang the song, he might have been chosen by critics for Song of the Year, on the other hand Yoko's voice is many not so pleasant to the ear. The second piano ballad "Watching the Dawn" is melodically not quite as strong and alive from the enchanting string arrangement. "Leaving Tim" leads at a time back to swinging songs like "Yes, I'm your angel" or "Will you touch me", very cute, might have tolerated a little more bass.
With "Shine, Shine" Finally follows the most rocking song, a cry-Stöhn Poem Fragment collage. This has something cool, but overall not a very fitting conclusion to this great album.
Comparisons to John Lennon, the Beatles or even Paul McCartney seems to me unnecessary to classify this record is maybe somewhere between Björk, Nina Hagen and Toyah, whose recent works, however all of them by inches. I very much hope on a further plate with the support of Tune-Yards, Questlove and Sean Lennon.
