A fast-matured far cry from the childlike think backs of ’1980’ – neck jolts and urban stop & go are downgraded by Estelle as Lauryn Hill copycat in favour of grown-up soul, R&B and spots of Motown. ALso away from her eighties homage, the rapped & soulstress notes hardly divulge past love throughout a pro-male/anti-male agenda Estelle cannot make her mind up over. A feeling of the risk factor being sacrificed results from the playing of percentages driving to gain as much a widespread audience as possible, which in the long run, is exactly what Estelle should demand.
4 Out Of 5
Reviewed By: Matt Oliver