The Fame Monster- The Queen of pop hooks and dark undertones.

Music Review- Lady Gaga- The Fame Monster (2009)

Fear of Love, Men, Sex, Death, Self, Suffocation, Alcohol and Truth. Lady Gaga is back with her second album and she has a high octave concept that is loaded with pop bangers. She is the master of her contemporaries at writing infectious hooks and songs that make you want to sing from the top of your lungs, as well as writing tracks with layered meaning and dark undertones. Gaga has never been more on top of those skills than on this album. You may be singing and dancing to Telephone without realising the suffocation undertones, you may be belting out Bad Romance without understanding the psychotic side of love and you may miss her battle with her insecurities in Dance in the Dark because of how stellar the pop beats are. But, this pop is not low brow or shallow like some stars put out.

At just 8 tracks, the album is a fire cracker of beats, synths and hooks that are infectious and fantastically joyous. But, it is the subtle parts in her lyrics that make Gaga a bonafide superstar. If you believe she is just a run of the mill pop star then you need to look at the references in her lyrics and the depth that so many of her contemporaries lack. Her skill is highlighted best in the album ballad speechless where she creates a heart wrenching narrative and pairs it with a hook ripped out of a fantastic pop song that is catchy but still hits home. Most artists fail to appreciate the art of writing a good hook whereas Gaga brings them back to the forefront.

Though the albums shorter than average length makes it feel like a sweet treat, it also finishes way earlier than you would like and you are left wanting more. In a way this is a positive, it is always best leaving your audience eager rather than overbeared. But, when the occasional song leans closer to mediocre than pop perfection, the short length makes it clear when a track isn't pulling its weight and letting the side down; there is nowhere to hide mediocre on a short track list like this. Luckily these tracks are only the very slightest few, so the album still feels fire and phenomenal. When some may have wanted to write Gaga off as a one album gal, this treat of joyous pop shows that she is here to stay.

Album Review: 8/10

Track by Track Breakdown:

Bad Romance- A fantastic romp from beginning to end. The song captures everything pop should be: exceedingly catchy, a whole load of fun but never low brow. Gaga hits you with hook after hook that will get stuck in your head for long after the track finishes. Red One's production oozes fun and dancable iconicness. The lyrics have references to Hitchcock and the whole concept is delightfully detailed; from wanting to love even the sickest parts of a human, Gaga's toxic romance is infectious and crazy in the best possible way. This leaning on psychotic side of love isn't necessarily relatable, but the way Gaga delivers it it is certainly lovable. The fantastically over-the-top bridge that leads into a victorious and sing-from-the-top of your lungs final section of the song, Gaga sells the song in its kooky fashion. (9)

Alejandro- A slice of infectious pop that leans too heavy on repetition. Though listening to Gaga battle with the idea of if her guy is the one for her is an interesting premise, the only thing that is left stuck in your head by the end of the song is the title. The opening hushed tones, the wind effects, the dashes of violin and the dance groove production all elevate the track from being anything close to basic. But, even they can't get over how many times she says Alejandro. It is decent for one or two listens, but the heavy heavy repetition means the song has a high burn out that is only saved by the production being very easy listening and chill. (8)

Monster- Dark pop but little else. It is strange coming after Bad Romance and Alejandro that are two songs that are masterclasses in infectious hooks that this songs hook doesn't hit the right notes. Don't get me wrong, it is a decent pop song but offers little else to the table. The best part of the song is the refrain of ''Could I love him?'' in the background of the chorus, it offers a deeper sense of desperation as Gaga tries to tackle the complex emotions of sleeping with a man that isn't good for her. It is pop at its best with lyrics that aren't shallow drivel found on some pop songs, it's just not as good as the standard Gaga has set herself up to be. (6)

Speechless- A beautiful ballad that is a masterclass in narrative story telling matched with a superb hook that is not only catchy but heart wrenchingly good. Trying to come to terms with the fact her father has given up and is ready to die, Gaga serves up a song that is relatable and painful. Her delivery is vulnerable and raw as she tries to understand how someone she loves could say something like that. The song could work for so many saddening moments such as a breakup or losing a loved one, the songs versatility makes it even better. It's stripped back, but oh so dramatic. Gaga shows off how versatile her voice is with the occasional growl and high note that hits you right in the feels. (9)

Dance in the Dark- Fighting with her insecurity, she can only feel happy when no one is looking; the track is relatable and zooms in on insecurity in an interesting and original fashion. The synths are infectious and is the kind of production you groove out to when you are alone. With a dash of female empowerment and a bridge that unifies strong important people, there is a lot to love in this slow burn banger. It's got the right vibe to enjoy on your own, but the track isn't big enough or catchy enough for anything else. (7)

Telephone- Easily the weakest lyrically, you can see why Gaga wanted to sell the song to Britney Spears. It is a decent pop song, but needed the collaboration to raise it out of tepid waters. At times the chorus can feel a little grating and Beyonce feels a tad wasted taking the place that is usually home to a rapper. But, the song grows with age and is definitely elevated when Gaga performs it live and gives it a rock make over by letting guitars give the song some life. It is decent, but leaning on mediocre which especially on this album leaves it feeling like a dud. (6)

So Happy I could Die- The chorus is gorgeous and pop perfection, but everything around it feels a little under baked. It is the track most similar to her work on The Fame and with production credits to Space Cowboy you can see why. The lyrics are a decent portrayal of the struggles trying to enjoy alcohol without going too far, but aren't anything outstanding. The production captures the feeling of being tipsy and vibing out to your jam, but it isn't anything outstanding. The only thing that prevents the track from being mediocre is the chorus because those few lines are gorgeous. I understand why Gaga wanted them on the album, I just wish the rest of the track lived up to that glossy pop perfection. (6)

Teeth- The shortest track on the album and it is certainly a firecracker. You will be remembering this thumping beat and infectious song for a long time to come. It is provocative with a bite. The foot stomping beat and Gaga's sexy delivery make it a sure fire crowd pleasure that is electric and ready to dance to. It is one to turn up loud and sing as bad as you can. It doesn't take itself serious and it is best because of it. Though it could be interpreted as repetitive, the short length and Gaga's fun conviction renders the complaint void as you can not not get invested in the song. It is fun, dark, crazy and oh so pleasing. (10)