Here are some links for a bunch of Pussycat reviews. All have been positive, including the one I wrote here last week.

Steve Ricciutti, Soundblab:

Generating 14 songs and getting them recorded and mixed in less than two weeks (she plays all but the drums), Hatfield said she felt driven by forces beyond her control and described the process as “cathartic.” It has that same feel for the listener, too. I haven’t felt this much righteous indignation from a record since Zach de la Rocha screamed, “Fuck you, I won’t do what you tell me” a quarter century ago.

Jeff Gemmill, The Old Grey Cat:

I could go on and on (and on) with my thoughts about Pussycat, but instead I’ll say that I haven’t wavered from the sentiment I shared in my review of Juliana’s Philly concert: It’s excellent. Fans (new and old) who share her outlook on politics and life will thoroughly enjoy it, though some may be put off by the blunt imagery in some songs. It’s a claws-out affair that draws blood and trades, at times, in the profane (as this Paste Magazine review details). There’s an energy and drive to the performances that’s as palpable as the passion dripping from her vocals; and the lyrics, with a few exceptions, are soaked with anger, indignation and bitterness.

Evan Rytlewski, Pitchfork (6.8/10):

Pussycat lends to the case for a critical reappraisal. Now would be an ideal time for one, given how the DNA of Hatfield’s hooky, plainspoken alterna-pop has carried through some of indie-rock’s sharpest young songwriters, from Waxahatchee to Bully to Laura Stevenson and Charly Bliss—artists that have demonstrated there’s plenty of substance in this sound. What a treat it would be if, 30 years into their careers, they were all making records as relevant, passionate, and strangely personable as this one.

Jon Putnam, The Line Of Best Fit (9/10):

What makes Pussycat an unqualified success is how Hatfield has constructed it with multiple dimensions and, no matter the mood or approach a given song takes, she continually scores with material among the finest of her career. The ruminative “You’re Breaking My Heart” and “Sunny Somewhere” bleed sublimity, highlighted by Hatfield’s lean guitar work. Never outing Trump by name, “Short-Fingered Man” and “Rhinoceros” tissue-thin veils are shredded through by Hatfield’s crudest lyrical jabs and ballsiest riffs to date. The one direct salvo is launched at Stepford Wife-cum-senior presidential adviser Kellyanne Conway, her namesake tune featuring Hatfield’s deliciously intimated desire to “be the first one to make [her] cry” and a downright danceable coda.

aLfie vera mella, Cryptic Rock (4/5):

If songs are the ultimate basis of an artist’s ability to balance youthfulness and maturity, then Pussycat finds Hatfield well in the middle of this equilibrium.

Brandi Smith, Riff Magazine:

Unlikely to be a favorite for Trump supporters, Pussycat is full of clever and biting lyrics that will give longtime Hatfield fans a reason to smirk.

Craig Dorfman, Paste (7.2/10):

Playing all instruments but drums, Hatfield completed Pussycat in under two weeks. That urgency comes through, to the album’s benefit. The immediacy of the melodies—simpler and scrappier than she’s written in years—paired with the snarl of the arrangements, gives Pussycat a rumbling, cathartic honesty ideal for the anger of our times.

Ashlyn Nicole, mxdwn:

The fast guitars and drums are not quite punk, but Hatfield’s political stance surely is. What initially is only conveyed through a couple of the song titles, such as “Kellyanne” and “Short-Fingered Man,” a closer look into the lyrics reveals that pretty much every song on Pussycat is political. Apparently Hatfield was pissed, and that fact is obvious throughout the entire album, even while masked with a soft, monotone and placid voice. The instrumentals complement the lyrics almost perfectly, while still walking on the tightrope of acceptable pop music. Hatfield’s album speaks out without being mundane, whilst hurling obscenities, which help to accentuate the mere point she tries to get across: politics are important and the current administration sucks.

Adrian Glover, Salute Magazine (8/10):

Aggressive in spirit, but catchy enough to entrap, Pussycat is uncomfortable reflection on where we are today.

These are indeed comfortable days that we wake up to. As such, expect plenty more records to come down the pipeline that showcase individual perspectives on why things feel the way that they do.

Hopefully, each and every one of them will be as raw and honest as Pussycat is.

Ben Gallivan, Stereoboard (4/5):

...the end product is one of Hatfield’s highlights as a solo artist. Heartless and Touch You Again are as energetic as any of the music produced by Blake Babies well over 25 years ago and there’s a renewed assurance in both her vocal style and delivery throughout. With a snap general election being announced in the UK, it’ll be interesting to see if any British artists follow this example and even more interesting to see if they can pull it off as well as Hatfield has done with ‘Pussycat’.