Chromatica: Reviews Thread

[metalguru 583]

 

wow this is kinda big deal that Pitchfork used her photo declaring "the great albums" of the week. 

81 score is coming... 

(also it is quite annoying that gaga fans keep tweeting to PF)

[ignotus 1,306]

Every single time i open this thread, i get anxious a little. I dont wanna see her score going down 

[Anveeroy 56,924]

3 minutes ago, ignotus said:

Every single time i open this thread, i get anxious a little. I dont wanna see her score going down 

I am more like, wait how did I miss this review? 

[Anveeroy 56,924]

Daily Mail - 4/5

Long ago, in the days of Duran Duran and Culture Club, Smash Hits magazine used to say that the biggest stars were in their imperial phase. Back then, the term nearly always applied to men. These days it’s far more likely to be women.

And Lady Gaga is partly responsible for that. When she came along in 2008, she was already imperious, almost as if she’d been born that way. She was commanding in the studio and even more so on stage, where she got away with addressing her fans as Little Monsters. 

The star she most reminded me of wasn’t another woman: it was another puppeteer, Freddie Mercury.

When Lady Gaga (above) came along in 2008, she was already imperious, almost as if she’d been born that way. She was commanding in the studio and even more so on stage

The problem with imperial phases is that, as George III observes in Hamilton, empires fall. After doing no wrong with The Fame and Born This Way, Gaga had a difficult third album, the misguided ARTPOP. 

And a fairly difficult fourth one, the middling Joanne.

Then, in a neat twist, the empire struck back. Taking the title role in A Star Is Born, Gaga not only earned an Oscar nomination for Best Actress but recorded the strongest ballad of her career, Shallow. 

A duet with her co-star Bradley Cooper, it won the themetune grand slam – an Oscar, a Golden Globe, a Grammy and a BAFTA.

Playing a fictional singer, Gaga seemed more herself than ever before. So where does she go from there? Back to the persona – crazy wardrobe, heavy warpaint and all. 

IT'S A FACT 

In 2010 a professor at the University of South Carolina launched an academic course about the singer titled Lady Gaga And The Sociology Of Fame. 

On the cover of Chromatica, she looks like an alien who has wandered into an album by Yes.

When the proceedings begin with a grandiose instrumental, you wonder if she intends to sound like Yes too. Thankfully, it’s just an overture. The next four tracks are domineering dance-pop. Gaga is back with several bangers.

The lyrics are hit-and-miss, with a few phrases that don’t fit their melodies. But the  choruses are addictive and they carry the Gaga stamp of barnstorming vulnerability. ‘I can’t see straight, I can’t see me, there’s too much hurt,’ she sings – on a song called Fun Tonight.

The backing tracks are best when they take you to the 1980s, evoking the squelch of Giorgio Moroder or the snap of New Order. They’re less interesting when they become more contemporary, and it’s a drag to find Gaga joining the ranks of celebrities roping each other in as guest vocalists. 

When Ariana Grande turns up, it feels like Madonna working with Britney Spears in 2003 – a strategic alliance, not an artistic impulse. Even a duet with Elton John is smaller than the sum of its parts. Where’s Bradley Cooper when we need him?

Strangely, there are no ballads to change the pace and stir the soul. It’s just one banger after another. But the songwriting is strong enough, and the singing is superb – big, bruised, just short of bombastic. 

Lady Gaga is lording it again. She has made the music for a party that we’re all invited to, and it’s not her fault that none of us can attend. 

https://www.dailymail.co.uk/home/event/article-8319075/Lady-Gaga-album-review-lording-Chromatica.html

[Anveeroy 56,924]

Forbes: How Lady Gaga Revives Pop With Her New Album ‘Chromatica’

In the last few years, pop music has subtly drifted away from the spotlight and other genres (like hip-hop, urbano, reggaetón, etc.) have risen to the forefront.

Though the genre is not dominating the music scene today, pop music has still had its fair share of notable moments in recent years with stars like Billie Eilish, who stole teenage girls’ hearts everywhere with her dark motifs and edgy persona, Ariana Grande, who grew into herself as an artist and became her most candid self yet with her album Thank U Next, and Taylor Swift, who continuously brings star power and anticipation to every record release — especially with her last (very romantic) studio album, Lover. 

Each artist has made their esteemed strives, but there hasn’t been a pop star that has fully revived the genre to its fullest capacity in the last few years.

Lady Gaga, who has had over a decade run in the industry, has shown her range with various projects, including The Fame Monster (synth-pop), Joanne (country) and A Star Is Born soundtrack (musical drama). She’s gone from everything to full ARTPOP queen to stripped down, no alter-ego Joanne to full-fledge actress, garnering an Oscar for Best Original Song for “Shallow.” 

There’s really no pop star quite like Gaga in terms of versatility, and she only continues her consistent streak with her latest album, Chromatica.

Born Stefani Joanne Angelina Germanotta, the singer-songwriter comes full circle with her most recent project, seamlessly modernizing her electro-pop sounds derived from The Fame and The Fame Monster. 

Not only is the set a perfect mix of catchy dance beats and dramatic production, it also displays Gaga’s vulnerability without reservation.

Divided into three sections, the pop star addresses various themes personal to her heart, creating an inside glimpse into her world. In “Rain on Me” with Ariana Grande, the duo touch on persevering despite troubles and tribulations. Though the rain — used as a metaphor to suggest an overwhelming amount of misfortunes occurring simultaneously — comes shattering down on her, Gaga points out that she’s just happy to be “alive,” insinuating that she’s getting through the hardships despite wanting a sunnier, brighter day. Don’t rain on Gaga’s parade!

In other songs “Free Woman” and “Fun Night,” she resonates similar tones, sharing her battle with happiness due to life’s adversities. Nonetheless, there’s still a sense of optimism in the first facet of the LP.  

As listeners venture off to “Chromatica II,” the second portion of the set containing more somber tones, they’ll find Gaga in a darker place. Though her collab “Sour Candy” with Blackpink is fun and uptempo, other songs like “911” “Plastic Doll” and “Replay” shed light on personal struggles with addiction, trauma and perfectionism — all which she’s endured during her nearly 12-year-long career. 

The trek with Gaga is rewarding and hopeful because one of pop’s most influential figures lands in a place of peace in the third and final act of the album. Beginning with a hopeful instrumental, the overall tone transitions into themes of healing, resilience and strength. With assistance from the legendary Elton John on “Sine From Above,” the cinematic tune is a much overdue collaboration. The abstract lightheartedness is felt in this song, as well as “1000 Doves” and “Babylon,” which conclude the project with vigor.

The overall piece of art is cohesive and layered with raw confessions pertaining to mental health and self-love. The bravery in her songwriting, the effort in honing electro-pop perfection and the transitions between tracks make it pop’s strongest album of the year. Lady Gaga not only revisits her roots as an artist, but she reminds pop music aficionados how much the genre misses both vulnerability and true production value simultaneously — a rare feat to achieve as a pop artist today.  

While pop music is mainly known for its catchy tunes, Gaga proves that pop music can have history and depths to it and we witness that with her evolved artistry on Chromatica. The pop powerhouse digs deeper to tell her unique truth, committing fully to who she is and proving it can pay off in the most rewarding way. Her self-awareness, her candid accounts and her motivation to challenge herself personally and professionally make pop music refreshing again.

https://www.forbes.com/sites/laurenalvarez/2020/05/30/how-lady-gaga-revives-pop-with-her-new-album-chromatica/#1783063832e2

[Guest Adarsh]

@Aarghya do any of these two count? 

[Anveeroy 56,924]

Just now, Adarsh said:

@Aarghya do any of these two count? 

No  

[alice911 536]

Whats the net score so far and now many more reviews to come?

[daisy 246]

4 minutes ago, IndianGagaFan said:

Whats the net score so far and now many more reviews to come?

81..lover had 26 reviews so We can expect max 12 reviews 

[mitch94 98]

Not a review but something worth nothing: Pitchfork added Rain On Me to their "17 songs you should listen to now: this week's pitchfork selects playlist". I kinda feel like so far they have been really on board with Gaga in this era, even including Chromatica in their "6 albums out this week you should listen to now" post. Definitely looking forward to what they have to say about Chromatica. 

https://pitchfork.com/news/charli-xcx-lady-gaga-and-ariana-grande-jeff-rosenstock-more-this-weeks-pitchfork-selects-playlist/?utm_medium=social&mbid=social_twitter&utm_source=twitter&utm_brand=p4k&utm_social-type=owned

[Anveeroy 56,924]

2 hours ago, IndianGagaFan said:

Whats the net score so far and now many more reviews to come?

 

2 hours ago, daisy said:

81..lover had 26 reviews so We can expect max 12 reviews 

Yeah 81... maybe around 25 reviews? 

[alsemanche 87,370]

4 hours ago, Aarghya said:

Even a duet with Elton John is smaller than the sum of its parts. Where’s Bradley Cooper when we need him?

The SFA slander 

[Anveeroy 56,924]

11 minutes ago, catsandlabneh said:

The SFA slander 

[daisy 246]

1 hour ago, Aarghya said:

 

Yeah 81... maybe around 25 reviews? 

12 reviews left.. 25 total

[Michael Baram 330]

https://www.metacritic.com/music/chromatica/lady-gaga