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Golden Hour [Limited Clear]
The mystical grandeur of Golden Hour creates a magnetic effect as Kacey Musgraves sings simply about the world as if she’s the first person to notice, and you’re the first one she’s telling.
She’s settled on enlightenment as a new resting state. The result is Musgraves’ most accessible record and her most ambitious, a magnetic, comfortable culmination of her pop and country instincts. While dynamic enough to house both the stirring, alone-at-the-piano fragment “Mother” and a full-on country-disco kiss-off in “High Horse,” Golden Hour is alluringly cohesive, both lyrically and musically. In “Wonder Woman,” she confronts a partner’s unrealistic expectations and gives a simple counter: “All I need’s a place to land.” Throughout these songs, she finds one.
—
Pitchfork
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Golden Hour [Limited Clear]
The mystical grandeur of Golden Hour creates a magnetic effect as Kacey Musgraves sings simply about the world as if she’s the first person to notice, and you’re the first one she’s telling.
She’s settled on enlightenment as a new resting state. The result is Musgraves’ most accessible record and her most ambitious, a magnetic, comfortable culmination of her pop and country instincts. While dynamic enough to house both the stirring, alone-at-the-piano fragment “Mother” and a full-on country-disco kiss-off in “High Horse,” Golden Hour is alluringly cohesive, both lyrically and musically. In “Wonder Woman,” she confronts a partner’s unrealistic expectations and gives a simple counter: “All I need’s a place to land.” Throughout these songs, she finds one.
—
Pitchfork
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The mystical grandeur of Golden Hour creates a magnetic effect as Kacey Musgraves sings simply about the world as if she’s the first person to notice, and you’re the first one she’s telling.
She’s settled on enlightenment as a new resting state. The result is Musgraves’ most accessible record and her most ambitious, a magnetic, comfortable culmination of her pop and country instincts. While dynamic enough to house both the stirring, alone-at-the-piano fragment “Mother” and a full-on country-disco kiss-off in “High Horse,” Golden Hour is alluringly cohesive, both lyrically and musically. In “Wonder Woman,” she confronts a partner’s unrealistic expectations and gives a simple counter: “All I need’s a place to land.” Throughout these songs, she finds one.
—
Pitchfork
