Music Review- Lady Gaga- Chromatica (2020)
Lady Gaga returns to the sound that made her in her new slice of pop heaven Chromatica. After the success of A Star is Born many were wondering which direction she would take going forward. But, on hearing the album, it was clear that there was never going to be any other album than Chromatica coming out of her mouth right now. It is the kind of pop that fans have been dreaming of and the sound that the charts desperately need more of. But, from going from the edgy Born this way, the high concept Artpop, the vulnerable Joanne and the complete left turns of A Star is Born and Cheek to Cheek, this feels like safe territory for Gaga. For any other artist, this would be their magnum opus, but it lacks the very Gaganess that drenches her usual work. This is not to say it is a bad album, to be honest nearly every track is well above average pop, but it is not a very good Gaga album.
The album is high octane pop engineered for success, this may mean that for many listens the songs bleed into one and that the build ups/beat drops get rather predictable. However, that is what you get when the album is super cohesive and filled with high quality pop songs. Pop has a formula and many of the tracks adhere to it. Though this is Chromatica's strength as it means every song is dance ready and a pop joy, but it is also its downfall. On albums like ARTPOP, Joanne and even Born This Way there was such variety in the track list that every song sounded unique, ballsy and inspired. When you were showing off these previous Gaga albums to your friends and family you had the gleeful joy of "Oh but you might like this one", whereas Chromatica's zoomed in sound means if you don't like one, you probably wont like the rest. So, if you like EDM and playing albums from start to finish, then this is the album for you. But, if you are looking for the kind of variety Gaga has been serving since her debut, then you will have to look back to the rest of her discography.
This album is constant banger after banger, however the lack of variety means the album never reaches the heights, or admittedly the lows, of her previous work. None of the songs will blow anyone away on first listen. Usually on a Gaga album you have clear fan favourites that Little Monsters shrine with accolades, but there is no consensus on the clear favourite on this album. Every song is good, but the album is really missing the blow you away moment that the rest of her discography has in bucket loads. It is for this reason, that even though the album is masterful pop, it is a tad disappointing and leaves a feeling like it is lacking something. This perfect pop lacks an edge, a risk or any sense of grit as this is a very safe record and forces the lack of truly fantastic or shocking moments. The more interesting moments, the transition of Chromatica II to 911, 911's vocal effects, or the techno blast in Sine from Above, never reach the daring risks taken on ARTPOP (the pig squeals in Swine, Jewels and Drugs, the manic laughter of Aura) or the raw vulnerability of Joanne. Yes, those albums might have been polarising and many listeners only had three or four tracks saved onto their playlist, but it's very muchly all or nothing for Chromatica.
However, with time the tracks decouple from themselves and reveal hidden greatness. For many of the tracks, a listener will need to pay attention to the lyrics to truly see the greatness in the song. Though Joanne was presented as Gaga's most personal album because of its stripped down production, in actuality none of the tracks were that personal; yes, the title track was about her dead Aunt, but, with no disrespect intended, her death was before Gaga was born, so it never felt like we were seeing Gaga's pain. Whereas with Chromatica, Gaga bares it all as this is easily the most personal Gaga has been with her pain. On Plastic Doll Gaga discusses how fame can make her feel worthless, Replay seems to discuss her relationship with her fans, 911 about Gaga's need to take drugs to stay on track, Fun Tonight's description of fame's toll on her relationships, Alice's lust to escape this world and how Gaga can't stop the gossipers on Babylon. The list could go on, but there is definitely a clear voice of the person that is Stefani and her relationship with the celebratory Gaga on this album. The Fame glamorised the concept of a celebratory and though it hinted at its darker underbelly it never explored the personal suffering of it, so these lyrics on Chromatica feel like a natural progression for Gaga. For many of the tracks, it is the lyrics that make them stand out.
Sadly, this depth is not found on every track. The album definitely takes a little too long to get going as the first couple of tracks are some of the lower quality songs on the album. Stupid Love, Rain on Me and Free Woman are all excellent pop songs made for radio, but they are basic in their lyrics and production. They are made for mass consumption with vague basic lyrics that have very little depth of nuance. Admittedly, this Act of Chromatica is presumably made with the radio and the general public in mind as the two singles are found here as well as Fun Tonight which would be a great last single (similar to Delicate on Taylor Swift's Reputation) that would find success on adult-contemporary radio. The first few tracks are not ones people will skip when they listen to the album, but they don't hit the same way as many of the later tracks that are much more interesting.
However, it is clear that every track on this album is made with success on its mind. Nearly every track is less than three minutes (something Gaga has never really done before) which is the perfect recipe for streaming and radios success, though it means some songs get cut off before they can properly get going (Babylon really could have done with some more room). In addition, the features on the album scream how much this album is designed for success. Ariana Granda the it girl of the moment offers a huge collab that was never going to miss the number one spot; BlackPink ensure high streaming numbers and extreme social media engagement with excitable K-pop fans and Elton John not only gives something for the Little Monsters to jump over (Gaga and Elton have been friends for a long time) as well as giving a feature your parents are intrigued to hear. All point to Gaga being on top of the charts for a long time. Above all, this is Gaga returning to her old sound after the massive success of A Star is Born, so is engineered to reassert Gaga's place in the pop landscape. It is the album Gaga needs in order to quiet the haters that point to Joanne's and ARTPOP's lower sales.
Hopefully, this means when Gaga regains the pop diva crown, then she can return back to being edgier, riskier and more like her unique quirky self.
(One can not write a review of this album without mentioning Love Me Right (10). A track that is only on a Deluxe Target Exclusive of the Album, but a quick google can find the track for international fans. And, you will most certainly not mind the extra work. The song is super catchy, incredibly fun and the kind of blow you away moment that the album misses. There is no sane reason why this track is not on the actual album.)
Album Review- 7
Track by Track Breakdown
Chromatica I- A cinematic opening that adds some movie grandeur to the album. It definitely intensifies the anticipation on first listen and is an intriguing decision. The short length means it is inoffensive enough to not want to skip after more listens, but other than the intrigue of the first listen, this track offers nothing much else. (2)
Alice- On first listen, the track is the new best thing. You will be singing the chorus even before the track finishes- it is such an ear worm. However, quicker than one cares to admit, the song becomes mediocre with the only massively interesting part being the bridge. The lyrics are just a little bit under baked- though interesting with its nod to Alice in wonderland- there is just not much of them. If there was another verse rather than many many "ahs" and "mas", then the track might feel more complete. Though on first listen the strength of putting the chorus in the beginning means you can sing along, after a couple of listens it is just predictable and repetitive. It is not a bad song by any stretch, you wont skip it when it comes on, but it is not one to have on repeat. However, all of the above means it is a perfect radio single. (6)
Stupid Love- Big, silly fun! It is not a track to take seriously, it is over the top, in your face fun. It's the kind of track you listen to and you imagine you are walking down the sunny streets of California with palm trees and your backing dancers twirling behind you. The lyrics are more of a shout from the bottom of your lungs than a sing along kind of song. You are not meant to have this on in the background, but turned up to eleven as you dance around the room. Again, the lyrics are a tad under baked with the song not really saying anything we haven't heard before. The only interesting twist being the fact "I want your stupid love" sounds like "I want just to be loved" which adds a desperation to the song that explains why the track is so in your face and screaming for attention. (7)
Rain on me- With a production in the pre-chorus similar to Bloodpops previous hit "What do you mean?" with Justin Bieber, it is very clear this track was made for radios and to be a hit. In that vein, it definitely feels like Gaga is stepping onto a Grande song rather than the other way around. Grande is very at home on this track, whereas Gaga's delivery takes a little getting used to. But, after the initial WTF reaction to how Gaga says "Rain on me" you quickly acclimatise to the peculiarities of the song and fall in love. Admittedly, the music video is a big driver in the love for this song as it is big bombastic pop glory, whereas the song is a little more basic pop. But, it is super danceable, extremely singable and undoubtedly lovable, so it very muchly deserves to be the hit that it wants to be. (7)
Free Woman- The song feels like a remix because of the dance break after the chorus and the production that seems to slightly cover Gaga's vocals. It is a peculiar choice. The lyrics are victorious about self empowerment and needing nobody to guide you. But, the production seems to hold back from the true empowerment and euphoria that the lyrics seem to be striving for. The twinkly background and less in your face production definitely allows you to focus on the empowering lyrics but adds very little else. The song is very quotable with the lyric "This is my dance floor, I fought for" so ready to be plastered around every gay club ever. It's very Kylie Minogue esque and will certainly get played at all the gay clubs around the world as it's got the summery bop feel. Gaga sounds great and her occasional growl gives the track some life. But, it is more life that the track desperately needs. The build up and beat drop don't hit as well as they should and because the production seems to cover Gaga's vocals, when she properly goes for it it fails to hit the heights it should. (6)
Fun Tonight- One of Gaga's most personal tracks! This is the type of song that Joanne was trying to be, but that album never felt personal as it had such a distance between Gaga and her Aunt. This song definitely seems to come from Stefani and not Gaga. Describing her struggles with relationships while being famous and how boyfriends have used her for fame. The track describes Gaga's frustrations as she realises that she is no longer having fun in the relationship and they should end it. It is definitely the kind of song you dance to during a tough day and you just want to escape to a different world. The chorus is catchy as hell and extremely singable. It is honestly like no other Gaga track released today. It is refreshing and interesting. Admittedly, the production could be a little bigger for it to properly explode (especially after the first chorus), or a little more unique to give it an even fresher feel, but what we got is definitely a lot of fun. (8)
Chromatica II- This track is necessary. A big problem of Gaga earlier albums, specifically Joanne, was the whiplash between tracks as you swapped from two very different sounds. Without Chromatica II then Fun Tonight and 911 would have had the same break-neck change. Instead, what we get is a super interesting transition that is beautifully done. But, other than making the album more cohesive and cinematic, it offers nothing more to return back to. (3)
911- Oh My Gaga! This track is certainly not like anything Gaga has done before. One of Gaga's most unique attributes is her bombastic vocals that truly elevates her above many of her contemporaries. So, to hear her sounding robotic with her voice altered drastically is certainly an interesting choice and to be fair it works really well. Sounding robotic when singing about needing to take drugs to keep her mind on track and how the constant popping of pills feels like a machine, she certainly marries the lyrics and her vocal delivery. The verses are next level good and the production is fantastic, in addition, the Ooos just before the chorus are intriguing and exciting. But, the chorus does not hit as well as it could, the song seems to slow down just as Gaga says "My biggest enemy is me, pop a 911", though the repetition of the line makes semantic sense, it doesn't make the most explosive of choruses. However, the verses are so fantastic that you can mostly ignore the tiny gripe of the chorus. The pulsating beat and Gaga revealing home truths that are more personal than she's ever been are contradictions but it works so well as a metaphor of Gaga seeming to be happy but in her head she is struggling dearly. (8)
Plastic Doll- The song is multifaceted in its meaning, whether it is about a struggling relationship or Gaga's circumstances with fame, the track is fantastic. The bridge certainly feels like a reporter questioning Gaga for being sad when she has so much money, so the track feels like a commentary on fame and how celebrities are expected to act like plastic play things. The lyrics are extremely interesting and can be interpreted in a myriad of ways. But, the true selling point of the track is Gaga's vocal delivery. Her growls are Godly and the way she delivers the chorus is other worldly. The track in some aspects makes it the opposite of 911 as the chorus is so fantastic, but the verses are lacking slightly. The intro and outro where Gaga questions "Am I Plastic?", when she had been so confident that she wasn't in other areas of the song, makes the track hit emotionally harder as the way she is treated causes her to doubt herself. The song is a lot of fun as well as having layers of depth. (8)
Sour Candy- The beat is dirty, BlackPink sound suggestively sultry and Gaga sounds full blown sexy; this track is not for the feint hearted. BlackPink sound way better than I had previously given them credit for, but Gaga's burlesque entrance and mature sexy vocals blow them out of the water. For having five singers on the track, it is surprising how cohesive it feels even though at times it is more like BlackPink featuring Gaga than the other way round. But, I wouldn't have it any way as this track is way better than it has any right to be. As an obvious streaming and twitter takeover tactic, many could have written this track off before they heard it, but they will be persuaded. Admittedly the song needs a couple listens to properly get into the groove as the pants and squeals can be a little off setting when you aren't expecting them, but once you enter the world of GagaPink you will be staying. Semantically the song is similar to 'Sweet but a Psycho' by Ava Max, so if that is anything to go by then this song may be a mega hit in the future. (8)
Enigma- Gaga is singing for her life on Enigma as she discusses her role as a celebrity and the mysterious relationship they have with their fans. Her delivery is certainly larger and more in your face than any of the other more perfect easily digestible pop tracks on the album. But, the song is so very meh. It's much more radio friendly than some of the other tracks on the album (911 I'm looking at you), but that means it is less unique and more commercial. The call and response bridge feels fun at first and again adds to the commercial radioness of the track, but after more than one listen it is like Gaga beats you into submission and the responses are reluctant and forced. The chorus is repetitive as she shouts "I'll be your enigma" leading little to sing a long too; it feels like Gaga is trying to convince you of her argument, but instead her shouting and repetitiveness feels more like forcing the listener to concede rather than persuaded. It's not bad enough that you want to skip it, but it's easily the least interesting track on the album. (5)
Replay- The hook on the chorus is fantastic! The beat demands you to twirl your body as there is no way to keep still while listening to this production. The lyrics especially on the chorus are intriguingly dark and smart, while the verses have nougats of brilliance "Every single day, I dig a grave, then I sit inside it, wondering if i'll behave" is genius, funny and deep. Then you get to the bridge and Gaga does not come to play on any part of this track. It is catchy. It is fun. It is so interesting. The line "Your monsters torture me" sounding like "Little monsters torture me"; the line "You are the worst thing and the best thing that happened to me"; and, the debate around who is to blame for her suffering certainly suggests that the song might have a deeper meaning about Gaga's relationship with her more obsessive fans. Both the lyrics and the production are next level, the fact Gaga's delivery hits it out of the park just blows you away. Her vulnerable coos opening the bridge that develop into her god-like growls are a clear highlight. Every single aspect is literally perfect, except the intro that just takes way too long to begin with out giving anything interesting. However, this song is made to be on replay and never taken off. (9)
Chromatica III- The shortest of the three interludes, and easily the least interesting. Yes the rain in the background and the strings that dance in and out like rain are definitely the perfect introduction to Sine From Above, but with how weird and all over the place that track is, it is a wonder why they didn't just tag this at the beginning of the song rather than making it its own thing. (1)
Sine From Above- Opening with rain, moving to a Gaga almost operatic first chorus, developing to a dance track, adding an Elton John feature into the mix and then finishing on a full on techno frenzy, this is bloody bonkers. It sounds like a Eurovision track because no where in the world could you find anything more peculiar, well, except on a Gaga record of course. It is definitely one to experience for yourself as words can not explain it. It is certainly unique and more experimental than the other tracks on the album. The beat is infectious and both Gaga and Elton put in fantastic performances as they sing about the healing power of music, relating it to a divine figure like God. They both work well together and for a Gaga fan who knows the importance of their relationship and the importance of music to them both, it adds an extra layer of emotional reverence. But above all, this track is made to be played as loud as possible so you can transcend onto Gaga's wavelength and leave the ground you are standing on. It has the power to transport you. The only downside is with all the weirdly connected parts there is one or two which wont work for some people, for me it's the first chorus. In addition, the all-over-the-place nature of the track means it is more of an experience than a track to leave on repeat. (7)
1000 Doves- On an album with no moment to pause, it is a wondrous decision why this track is not a ballad. It has some of the most heartfelt lyrics on the album "I am human, invisibly bleeding" and "I am completely lonely, please don't judge me" certainly hit hard. So, it is strange that Gaga and Bloodpop did not want to slow the production down so that everyone could hear and get the true impact from the lyrics. But, rather than being maudlin over what could have been, when listening to the track for what it is, it is a really uplifting dance track. The production makes the lyrics sound more hopeful than they are. As you dance and tap your feet you forget how much pain Gaga is seemingly going through which feels like a statement in itself. It is the type of track that when listening in the context of the album it is not big enough or bold enough to stand out, but on its own it certainly has more love to give. For this reason, it is certainly a track that has the potential to grow on you and be a strong radio song. (7)
Babylon- This song will be many different things for different people. The worst. The best. A Vogue rip off. The most unique thing ever. It is certainly a divisive track. Some of the lyrics are clever and funny such as the play on words of the chorus, whereas others are cheap and silly ("You can serve it to me, ancient city style / We can party like it's B.C." wtf). But with all these conflicting opinions, the song is most definitely one to talk about and for a song about gossip that is kind of clever. It is certainly the most Gaga song on the album and offers something for people to strut to. But, this is a track with a lot of potential that just isn't met. The very short track length means a lot of the aspects of this song feel tagged on and out of place. The saxophone (?), the end claps and the choir are certainly tone changes from the rest of the album and make it feel like a decent closer of a track. But, all make it feel like a convoluted mess because they don't have enough time to breathe. It's over the top Gaga and gets points for being the only clear risk on the album, but doesn't get points for much else. (5)