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Idolator reviews Joanne


Nagini

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For better and for worse, that means the voice is the focus of her fourth proper studio album Joanne (out October 21). Real or not, Gaga has presented the image of a stripped down singer-songwriter who has put away the meat dresses and Warholian album covers in an attempt to find the artist underneath it all, the artist she was when she was making the rounds at dive bar drag shows in NYC in the early aughts. (Even her latest string of shows reflects this concept.) So while, yes, about 60 percent of the album is Gaga in a lower gear, over quieter production, this is still a Lady Gaga album, so “stripped down” means nearly every song drips with the quaking histrionics of a broadway showman.

Lead single “Perfect Illusion” and opening track “Diamond Heart” could have been back-end filler songs on any of her previous albums, but instead of garish synths and heavy bass, both attempt to showcase Gaga’s rock and roll bonafides, showing that even in the era of poptimism, rock is still a signifier of authenticity. Replete with guitar squeals, kickdrum hearts and flashy credits (Mark Ronson, Kevin Parker,Bloodpop, Josh Homme), Gaga’s over-the-top vocal performance on both songs outweighs all that. She’s obviously trying so damn hard to sing the living Christ out of strained lyrics (that “It wasn’t laaaaaawwwvvveee” chorus becomes very grating very quickly), and it can be actively distracting to listen to.

The handful of Joanne’s more forgettable tracks are a hodgepodge of quiet ballads (the country-tinged “Million Reasons,” the well-intentioned “Angel Down”) and songs that feel like unnatural chart grabs (the hand-clappy “A-YO” gives shades of Meghan Trainor, “Come To Mama” cribs Ronson’s retro soul-pop bombast, “Dancin’ In Circles” calls upon the undying trends of trop house and polite Euro-tinged dance music). But the album’s highlights — the genuinely moving acoustic title track and Florence Welch duet “Hey Girl” — are both exciting glimpses of what Joanne could have been.

The problem with these two standouts is that they highlight what so many of the other tracks on Joanne failed to capture: Lady Gaga, unencumbered by the illusions and the theatrics, laying herself bare in her music. Considering she just recently claimed her  “whole life is a theater piece,” it seems she’s still more content to stand in front of a curtain on stage than to let listeners behind that curtain.

2.5/5

http://www.idolator.com/7648936/lady-gaga-joanne-review

 

Why do all these people keep having the wrong opinions? :awkney:

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Shipper

Please tell me this don't count? 

Like,  what kind of album gets a high rating? Give me an example?  Just to see where all this critics stand. :sweat:

🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶🩶
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Bradley
1 minute ago, Shipper said:

Please tell me this don't count? 

Like,  what kind of album gets a high rating? Give me an example?  Just to see where all this critics stand. :sweat:

Britney's Glory :rip:

I like Britney but no Joanne is 200 times better.

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DeanWinchester
3 minutes ago, Tommi said:

They don't count to metacritic!

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Flyin' like a 1000 Doves
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SlaeUrAnus

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Give them a free copy. We need album of the millennium!

In my messy era.
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Versace

What does all this bullshit mean though

I feel critics just say stuff, even those who say good things, say too much BS

it's either you like the album or not and give one valid reason for either choice and goodbye, don't tell us your life story or try to show off your IQ, it comes off as cringe-worthy and pretentious :awkney:

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River

It's like they are writing Gaga's history while reading the albums tracklist and giving it a mark.. they didn't even listen to the album..

So sploosh your juice all over me you Riverboy
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Also, I don't understand why they don't include Grigio Girls+Just Another Day in their reviews? Do critics just ignore the bonus track editions?

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