buzzkill 3,957 Posted June 1, 2020 Share Posted June 1, 2020 LAT was actually... ok? Link to post Share on other sites More sharing options...
HHLM 58 Posted June 1, 2020 Share Posted June 1, 2020 43 minutes ago, jesse g said: LAT was actually... ok? I donât know what expect from this but I think maybe 80? Link to post Share on other sites More sharing options...
Mikebristow 35 Posted June 1, 2020 Share Posted June 1, 2020 At least they gave us the weekend for people to see that 81 before the NYT Fake News review brings it down. Link to post Share on other sites More sharing options...
vixdean 1,061 Posted June 1, 2020 Share Posted June 1, 2020 On 5/31/2020 at 12:18 AM, zerojk said: Whatâs funny is that every negative review always has to include the word Madonna on it, or reference her canât they get over it? Not just the negative ones, though. Almost every single review mentions Madonna, specifically with relation to Babylon. It's inevitable. I have absolutely no problem with it, and I don't understand why some monsters get upset about it. Everybody knows Madonna is one of Gaga's inspirations. Bloodpop worked with Madonna before, and with Gaga and Madonna in good terms, I wouldn't be surprised if they actually shared the song with Madonna before release. It's a clear nod to Vogue. Link to post Share on other sites More sharing options...
Psyduck 677 Posted June 1, 2020 Share Posted June 1, 2020 5 hours ago, River said: I think Dua has so many reviews because she's a UK artist, so she got reviews from both countries. Gaga is also a UK artist, more than Dua could ever hope to be. keep on looking for Psyduck Link to post Share on other sites More sharing options...
River 91,010 Posted June 1, 2020 Share Posted June 1, 2020 38 minutes ago, Sine From Psyduck said: Gaga is also a UK artist, more than Dua could ever hope to be. I meant that she's from the UK Je ne parle pas français but I can padam if you like Link to post Share on other sites More sharing options...
Sorcerer 10,559 Posted June 1, 2020 Share Posted June 1, 2020 Pitchfork: 7.3 With incomparable flair, the pop diva returns to her dance-pop days with a fabulously fun and deeply personal album that is at turns bizarre, theatrical, and ambitious. https://pitchfork.com/reviews/albums/lady-gaga-chromatica/ Link to post Share on other sites More sharing options...
ThatCanadian 305 Posted June 1, 2020 Share Posted June 1, 2020 7.3 from Pitchfork! Is that good?  Link to post Share on other sites More sharing options...
 Anveeroy 56,924 Posted June 1, 2020 Author Share Posted June 1, 2020 1 minute ago, Sorceress said: Pitchfork: 7.3 With incomparable flair, the pop diva returns to her dance-pop days with a fabulously fun and deeply personal album that is at turns bizarre, theatrical, and ambitious. https://pitchfork.com/reviews/albums/lady-gaga-chromatica/  1 minute ago, ThatCanadian said: 7.3 from Pitchfork! Is that good?  OMG do you have any kind of alert? I am refreshing the site again and again Stream Kylie-Janet Discographies! Link to post Share on other sites More sharing options...
 Anveeroy 56,924 Posted June 1, 2020 Author Share Posted June 1, 2020 Pitchfork: 7.3/10 Lady Gaga has canceled Earth. She lives on planet Chromatica now. Yes, this is Stefani Germanottaâs return to all that is Lady Gaga: bizarre and theatrical and ambitious, swathed in electrodes, operating with a ga-ga-galaxy brain, delivering dance bangers for us canceled Earthlings. Chromatica is her first pop-pop album since 2011; unlike the non-âWhy Did You Do That?â parts of the A Star is Born soundtrack and the beige acoustica of 2016âs Joanne, thereâs not a ballad to be found. Specifically, according to Gaga lore, âChromaticaâ is some kind of far-flung pink-prism Mad Max planet where âballads are illegal.â Who doesnât love world-building? But while Chromatica is a return to Gagaâs dance-pop days, that doesnât mean quite the same thing now. Itâs been 12 years since her debut album The Fame, released when âEDMâ was just corporate jargon and âdanceâ meant stompy electroclash. In 2020, a Lady Gaga dance album comes out as an unabashed revival of â90s house music. But if anyoneâs earned a trip to the house, itâs Lady Gaga, who is among the few big pop stars today who can legitimately be called a diva. When Gaga sings, she sings out: not chill, not Idol-pretty, but unafraid to go there, whether there be throaty rasps or sotto-voice commands or feral desperation. Itâs why her hard-rock dalliances largely worked, and why Chromatica feels more substantial than other artistsâ throwaway dance turns. So much nu-house is producer-driven, its vocalists reduced to decorations if even credited; there is no risk of this with Gaga. Everything here would be unmistakably her even if self-reference didnât abound. Lead single âStupid Loveâ salvages the juddering sequencer of âDo What U Want,â kicks up the speed, and weaves Gagaâs past lead singles around it like Maypole streamers: the oncoming-juggernaut heft of âBad Romance,â the melodic contour of âBorn This Way,â the conceit of âApplause.â The other line about Chromatica is that itâs Gagaâs most personal album. You may recall that Joanne was also called Gagaâs âmost personal album.â That time, it was âpersonalâ in the same way all pop starsâ unplugged albums get called that: the arrangements had acoustic guitar, and the AutoTune was kept to a tasteful touch-up. Chromatica loses the guitars but certainly handles heavy subject matter: PTSD triggers, antipsychotic meds, sexual assault. In fact, most of Lady Gagaâs music since The Fame has been very personal. For every shiny, poppy song like âTelephoneâ or âHair,â Gagaâs recorded three more with wounds at the core: the personified fears of The Fame Monster, the parts of Born This Way that are more darkwave or Warcraft than bubblegum; the bitter mess of 2013âs ARTPOP. Themes recur: fragmented identity, soldiers to emptiness, drinking tears, dying a little when being touched. The art is often messy, the specific mess of art written from trauma. Even when Gaga dons freaky costumes or writes high-concept songs about Judas or swine, the artifice cracks. Itâs why her albums hold up surprisingly well. Itâs telling which Gaga moments have resurfaced from the early 2010s into current cultural memory: the deadpan, panting intro to âMonster,â or the sludgy-gothy âBloody Mary,â which TikTok made even sludgier and gothier. Chromatica reverses this effect. This is house music at its most shiny and immaculate, a genre made from ache and escapism, high strings and numbing throbs. But Gagaâs lyrics are plainspoken, mostly free of religious metaphors and pretense; of the two high-concept songs on Chromatica, one is deliberately silly (âBabylonâ) and the other (âAliceâ) immediately yanks the metaphor back into reality: The first words are âmy name isnât Aliceâ and the song is inhabited not with white rabbits but the more terrifying creatures inside oneâs mind. The emergency in â911â refers to olanzapine, a fast-acting antipsychotic that Gaga says saved her life. The track begins with a cold, stark beat, her vocals affectless and vocoded. The whole thing sounds off, and when the sweet, singsong chorus arrives, it just sounds off even more. The counterpoint never quite resolves with the melody, and the most painful lines (âWish I laughed and kept the good friendshipsâ) are tossed off, almost missable. But these are wonderful details, ones you can dance through now, then catch later. For all Gagaâs emphasis on Chromatica being an album meant to be heard start-to-finish with no skips, the sequencing is a bit off. The string interludes, composed with Morgan Kibby (M83, White Sea), separate the albums into three acts, each with its own filler. The climactic redemption of Ariana Grande collab âRain On Meâ comes about ten tracks too early, and âFree Womanâ and âFun Tonightâ lose energy so close together. In act two, âPlastic Dollââthe basic idea of which you can guess just by reading the titleâwould have been too on-the-nose on The Fame. âSour Candy,â the break-the-internet collaboration with K-pop superstars BLACKPINK, is sassy enough, but on a Lady Gaga album, and particularly this album, it feels out of place. Thatâs partly because thereâs no Gaga until over a minute in, partly because weâve literally heard it before: âSour Candyâ is at least the fourth pop song built on a sample of Maya Jane Colesâ âWhat They Say,â Then thereâs the unavoidable fact that Chromatica is an album explicitly made for big communal dancefloors, released just before Pride month, a big celebratory mood, in a year when none of those things quite exist like they used to. Chromaticaâs two strongest tracks are near-total opposites. Imagine an axis from bizarro transcendence to pure transcendence; âSine From Aboveâ is all the way at the left. Each individual part of it makes sense, kind of. Lady Gaga and Elton John? Sure; theyâre godfamily, after all, and heâs a livelier duet partner than Tony Bennett or Bradley Cooper. Elton John with two-thirds of Swedish House Mafia? That was the idea, back in 2013. An ode to a literal sine wave, dropping decibels from the heavens? If anyone would write that, itâd be Gaga. Attacking that theme with zero-irony gusto that Eurovision would co-sign, going for it and never looking back? Chopping everything up for a drum-and-bass tangent at the end? To borrow the theater-kid saying, itâs big and wrongâyet so big, itâs hard to call it wrong at all. If âSine From Aboveâ runs on WTF, âEnigmaâ runs on familiarity: Every musical and emotional beat arrives precisely on cue, as if the club had muscle memory. Itâs massive, it has a gravitational pull. Uncoincidentally, the chorus recalls a certain other song about being heroic lovers, just for one night. It slots right into Gaga canon: Enigma is the name of her recent Vegas residency, and the snippets of sax that crest above the choruses recall the late E Street Band member Clarence Clemons on Born This Way. And, crucially, it nails the desire of meeting someone in all its urgency. On planet Chromatica, âEnigmaâ is otherworldly: the atmospheres light up violet, dragonâs eyes and phantoms abounding. Itâs the same drive thatâs powered dance music, from disco to house to Gagaâturning a moment heightened, more fantastic, and, even at its most strobe-lit and artificial, somehow entirely human. https://pitchfork.com/reviews/albums/lady-gaga-chromatica/ Stream Kylie-Janet Discographies! Link to post Share on other sites More sharing options...
ignotus 1,306 Posted June 1, 2020 Share Posted June 1, 2020 7.3! Im kinda concerned with her overall score now Link to post Share on other sites More sharing options...
DiskoBaby 1,929 Posted June 1, 2020 Share Posted June 1, 2020 2 minutes ago, ThatCanadian said: 7.3 from Pitchfork! Is that good?  Good enough to be on their end of the year list. I still chuckle how they loved The Fame Monster so much to include it on their best albums of the decade from a 2009 album. Link to post Share on other sites More sharing options...
SpiritBunny 2,963 Posted June 1, 2020 Share Posted June 1, 2020 Guys calm down, 7.3 from Pitchfork is great... Link to post Share on other sites More sharing options...
 Anveeroy 56,924 Posted June 1, 2020 Author Share Posted June 1, 2020 That's .1 low from her last record. TFM 7.8 Joanne 6.9 ASIB 7.4  Stream Kylie-Janet Discographies! Link to post Share on other sites More sharing options...
Guest Adarsh Posted June 1, 2020 Share Posted June 1, 2020 Omg itâs better than Joanne so yâall better not drag them. Link to post Share on other sites More sharing options...
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