她的音乐充满细节：稀奇古怪的节奏闪现、藏得很深而只出现一次的采样，可爱到有毒的90年代流行吉他。歌曲总是以意想不到的方式开始，却会用我们所期待的pop该有的方式逐渐效果爆炸，令人满足。"Butterfly"是带着亚低音而来，宣告永夜的mutant bruiser（超级英雄梗，单声道的节奏让它听起来像是怪异峡谷版的Kylie Minogue的 "Can't Get You Out of My Head"
The songs are graced with small details: curious skeets of beats, buried samples that only appear once, toxically cute '90s pop guitar. The songs build in unexpected ways, but explode and gratify in the way we hope pop always will. "Butterfly" is a let-tonight-last-forever mutant bruiser with roiling sub-bass, the chorus's side-chained pulse making it like an uncanny valley version of Kylie Minogue's "Can't Get You Out of My Head".

所有的一切让我们觉得，Boucher展开了一场真真正正的再发明潮流，并且为Top 40的目标而来，却又对这两件事有所怀疑。《Art Angels》是《Visions》的进化体。如果你过滤掉后者的一些朦胧的处理，你会发现两者结构的相似性。Boucher可辨识、很熟悉，但是比在 "Oblivion"中更为宏大、音域更宽、更有深度。这张专辑突出了她、取样了她，将她的形象放大，形成主调和复调。
All of this might seem as if Boucher has fashioned a whole-cloth reinvention and is gunning for the Top 40, but neither of these things feel true. Art Angels is a natural progression from Visions; if you strained out some of the processing and murk of the latter, you would find these structures lurking. Boucher's voice is recognizable and familiar, but it's bigger and has more range and depth than on "Oblivion". This album foregrounds her, samples her, piles tracks of her half a dozen high to form melodies and countermelodies.

《Art Angels》和其他Top 40音乐最大的不同之处在于，它不是情歌。它是史诗般的女性主义者的假期自助餐，而且经过了匿名的评论家、音乐界小人物的加工。
One of the most notable and striking differences between Art Angels and its Top 40 kin is that these are not love songs. The album is an epic holiday buffet of tendentious feminist ****-off, with second helpings for anonymous commenters and music industry blood-suckers.

《Visions》之后，她和名利之间充满矛盾、令人眩晕关系，似乎把她引向了“什么都不在意的”自由境地。"Kill V. Maim"中出现了暴怒，和些许随意的厌男症 ("I'm only a man/ I do what I can,")
Her conflicted, vertiginous relationship with the fast fame that followed Visions seems to have led her to a place of DGAF liberation. Some songs, like "Kill V. Maim", course with a thrilling rage, even a casual misandry. ("I'm only a man/ I do what I can," she sings on the hook).

目前为止，《Art Angels》最刺激的地方在于Boucher想要被被听到、被看到的十足的意志、完全的无畏。她不再是大家在2012年所称呼的‘人形 Tumblr’（带有某种羞辱意味），现在的她是‘人形zeitgeist（时代思潮）’，重新界定了流行音乐的二进制、边界线，迫使我们跟上她的脚步。
Yet, what's most exciting within Art Angels is the sheer will and fearlessness of Boucher's fight to be heard and seen on her own terms. She's not a human Tumblr, as we called her (somewhat humiliatingly) in 2012; she's a human zeitgeist, redrawing all the binaries and boundaries by which we define pop music and forcing us to come along.

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Pitchfork乐评实时翻译 Norman Fxxking Rockwell：http://tieba.baidu.com/p/6464821855?pid=129610135068&cid=0#129610135068

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