On *Approximately Infinite Universe*, Yoko Ono no longer merely transforms pain into art: she seizes it with rage. Released in 1973, this double album marks a turning point in her discography due to its direct intensity and decidedly rock direction. Where *Fly* (1971) already hinted at a more classic foundation, *Approximately Infinite Universe* fully embraces the codes of 70s rock—only to twist them. One hears visceral energy, muscular guitars, taut grooves, and that inimitable voice that goes from a whisper to a scream without warning. But it’s the attitude that truly strikes: that of an angry, clear-eyed, uncompromising woman. Anger against war, against gender norms, against destructive love. While some tracks evoke the efficiency of a female E Street Band, Ono takes her group into far more troubled and experimental territories. The album thus becomes an early feminist manifesto, without ever sacrificing musical power for commitment. An essential work in the career of an artist too often misunderstood, *Approximately Infinite Universe* establishes Ono not only as a pioneer of performance and conceptual music, but also as a complete rocker, at the forefront of a genre still predominantly masculine.
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