Songs like Telephone

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4 hours ago, bxr said:

Hmm, good question … producer wise … maybe look into The Neptunes, Timbaland, Danja, Lex Luger, Mike Will Made It … might not be carbon copy parallels but they were in the proximal Hip-Pop/Electro-Hop space … 

Co-signing Kylair‘s X … MASSIVE

I‘m also just thinking a lot about Ringtone-era TRL … 

These shares are all over the place, but maybe one might lead to a relevant realm

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You know you might me onto something with When I grow Up, the rest uhmm idk. Timbaland, The Neptunes and Danja definitely don't have the same sound they did dark electronic hip hop 

Edited 19 hours ago by Reject False Icons

[bxr 2,126]

1 hour ago, Reject False Icons said:

You know you might me onto something with When I grow Up, the rest uhmm idk. Timbaland, The Neptunes and Danja definitely don't have the same sound they did dark electronic hip hop 

I see your scope, absolutely fair play … WIGU (from what I remember, so take with a grain of salt) was pitched for Britney‘s Circus sessions, and I think (?) had some MJ narrative incorporation with the lyrics … which, conceptually, is quite aligned with Fame Monstrosity, as well as the sonic aesthetic of Britney as a sort of sonic “energy” in the pop space … especially circa 2007-2008, and the Blackout to Circus interbellum period was very much a “vibe” nexus where the pop star, their own narrative, their own energy, their own certain bricolage of incumbent sounds or elements really did become part of their sort of sound genome … more technically (again this is all just riffing on proximal sounds or “vibes” … and I‘m aware of how polarizing “vibes” can be in the technical realm of Aught Pop genre objectivity) … Blackout to Circus feature certain elements of that primordial brakish mood board of electropop, trap, electro-hop, hip-pop, etc. and certainly the undercurrent influences of Britney‘s work with (admittedly) The Neptunes, Danja, and Darkchild … I was going to include some Dirty Money or Christina Aguilera (Tell Me), but decided not to add them to the list … but there are certain elements of Telephone that feel like they pull from that place of dark electronic hip hop, even if not overtly … Telephone feels like it is the proximal progeny of that sphere of the genre, but polished up (sort of like the music video … a lot of elements happening at one time, making sense together if only because maybe they share the same frame (perhaps, of cognitive dissonance), but if you take them apart they would seem somewhat disparate) … but I guess that‘s just to say WIGU is the most distinctly related to Telephone on paper, so there is something there for sure …

The rest, for me, just being more present in that space at that time and growing up … again, native member of the TRLdren Generation … conceptually, all of the songs have something Telephone-esque within their sound feel … even if it‘s just conceptually and how that influences the music interpretation … some in retrospect I didn‘t even notice were Darkchild tracks … others had certain icy layers that felt “electro” … some had strings or synths in context of something that felt more “urban contemporary” … some had a melody or layer that felt complementary somewhere … some just felt like they would be on a pre-game playlist with Telephone for a certain demo … maybe that was more of the undercurrent thread … just songs that might have one layer of certain association with Telephone for whatever reason, and then working backward to see which element might have resonated … WIGU is quite Atomic Pop in its own way, Telephone has those core elements as well … but in retrospect, it‘s that narrative of Telephone and Fame Monstrosity and Britney (and, ft. Beyonce) and how that is clearly reflected in pop music building, what led to that sound and to a lesser extent (and to what we are seeing with Telephone‘s sort of oddly bespoke singularity in this thread) the sound that followed … maybe there‘s more of a marketing connection to some of the songs as well … seeing how/where singles would be pitched, and playing to certain demographics with certain “optics” with the sound or production or presentation …

Sort of a lot happening in the aforementioned stream-of-consciousness, so, just neither here nor there salt grain musings from me … but/and I appreciate the thread and dialogue … good fun

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What You Waiting For by Gwen Steffany 

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2 hours ago, bxr said:

I see your scope, absolutely fair play … WIGU (from what I remember, so take with a grain of salt) was pitched for Britney‘s Circus sessions, and I think (?) had some MJ narrative incorporation with the lyrics … which, conceptually, is quite aligned with Fame Monstrosity, as well as the sonic aesthetic of Britney as a sort of sonic “energy” in the pop space … especially circa 2007-2008, and the Blackout to Circus interbellum period was very much a “vibe” nexus where the pop star, their own narrative, their own energy, their own certain bricolage of incumbent sounds or elements really did become part of their sort of sound genome … more technically (again this is all just riffing on proximal sounds or “vibes” … and I‘m aware of how polarizing “vibes” can be in the technical realm of Aught Pop genre objectivity) … Blackout to Circus feature certain elements of that primordial brakish mood board of electropop, trap, electro-hop, hip-pop, etc. and certainly the undercurrent influences of Britney‘s work with (admittedly) The Neptunes, Danja, and Darkchild … I was going to include some Dirty Money or Christina Aguilera (Tell Me), but decided not to add them to the list … but there are certain elements of Telephone that feel like they pull from that place of dark electronic hip hop, even if not overtly … Telephone feels like it is the proximal progeny of that sphere of the genre, but polished up (sort of like the music video … a lot of elements happening at one time, making sense together if only because maybe they share the same frame (perhaps, of cognitive dissonance), but if you take them apart they would seem somewhat disparate) … but I guess that‘s just to say WIGU is the most distinctly related to Telephone on paper, so there is something there for sure …

The rest, for me, just being more present in that space at that time and growing up … again, native member of the TRLdren Generation … conceptually, all of the songs have something Telephone-esque within their sound feel … even if it‘s just conceptually and how that influences the music interpretation … some in retrospect I didn‘t even notice were Darkchild tracks … others had certain icy layers that felt “electro” … some had strings or synths in context of something that felt more “urban contemporary” … some had a melody or layer that felt complementary somewhere … some just felt like they would be on a pre-game playlist with Telephone for a certain demo … maybe that was more of the undercurrent thread … just songs that might have one layer of certain association with Telephone for whatever reason, and then working backward to see which element might have resonated … WIGU is quite Atomic Pop in its own way, Telephone has those core elements as well … but in retrospect, it‘s that narrative of Telephone and Fame Monstrosity and Britney (and, ft. Beyonce) and how that is clearly reflected in pop music building, what led to that sound and to a lesser extent (and to what we are seeing with Telephone‘s sort of oddly bespoke singularity in this thread) the sound that followed … maybe there‘s more of a marketing connection to some of the songs as well … seeing how/where singles would be pitched, and playing to certain demographics with certain “optics” with the sound or production or presentation …

Sort of a lot happening in the aforementioned stream-of-consciousness, so, just neither here nor there salt grain musings from me … but/and I appreciate the thread and dialogue … good fun

I used to think Gaga ghost wrote WIGU in the Darkchild sessions she did for Pussycat Dolls and it tied in with The Fame theme

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8 hours ago, AVeryGagaHolyDick said:

No pop song sounds as busy (no pun intended) as Telephone 

Only metal songs do that

By the way, here’s the best quality you’ll ever hear:

Also, it’s surprising how completely different Telephone sounds in comparison to the other Gaga + DarkChild tracks. They’re all about being really soft and clean and then there’s Telephone. 

Back then I thought some 3OH3 chorus' were busy
 

this has that octave up down up down thing that Telephone and Alejandro have too, don't know what it's called though

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Music is so unique I ****ing love it so much oh my god

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5 hours ago, Defmix100 said:

Back then I thought some 3OH3 chorus' were busy
 

this has that octave up down up down thing that Telephone and Alejandro have too, don't know what it's called though

I see exactly what you mean with the “octaves”

Summerboy’s chorus does that too

@16:48

Edited 9 hours ago by AVeryGagaHolyDick