Lady Gaga
Chromatica
Streamline/Interscope
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It is only the beginning of June and yet it feels like these last few months have been made of the stuff that accumulates over years. With so much violence, disease, sadness and natural disaster, it is easy to want to just pull the blanket up over your head and close your eyes until it’s all over.
But we can’t. For all of our faults, stupidities and weaknesses, we humans have the ability to change, to want for a better day and yes, we even fight for it, as evidenced throughout history and more recently with the protests currently sweeping through the US. Through all of these ups and downs, there is always one constant that has the ability to connect, heal and even unite: music.
It is this very thing, music, that sits at the core of everything Lady Gaga does. In essence, she is music, she is all of the notes jumbled together in a mass that somehow find their way to create something unique, each and every time she calls on them. With diversity a theme for everything Gaga does, it again goes hand in hand with her latest offering Chromatica. Although this is Gaga’s first dance album since 2013’s Artpop, the road to Chromatica has been a varied and somewhat long seven years in the making.
Having stepped into the jazz arena with the legendary Tony Bennett for 2014’s Cheek To Cheek, then onto 2016’s introspective, stripped down Joanne, it only seemed fitting that Gaga would extend this branch of creativity to a soundtrack: 2018’s smash A Star Is Born. Receiving countless gongs along the way for the music as well as acting (An Oscar, two Golden Globes, countless GRAMMY Awards and a myriad of others), it cemented what we already knew: Lady G is the 21st Century’s answer to Barbra Streisand, and so, so much more. Chromatica it seemed, was not only a hark back to Gaga’s roots (The Fame/The Fame Monster), but yet another feather in her already incredibly adorned “cap” of artistry.
If I had to describe Chromatica in one word, “masterpiece” would qualify. An album that spans a total of thirteen tracks (plus three orchestral interludes) should come with some questionable moments. This one doesn’t. From the first orchestral interlude “Chromatica I” through to the album’s first two singles “Stupid Love” and 2020’s duet de choix “Rain On Me” which combines the scrumptious vocals of Ariana Grande, Chromatica sets the tone for a dance album that the world didn’t realize they truly needed. Oh yeah, did I mention the album’s first track “Alice?” It’s not only a banger of a dance floor bop, but also a reminder that the dance floor can and should be a place to trip the light fantastic in all its glory.
Rounding out act one are the empowering and liberating “Free Woman” and “Fun Tonight,” which looks at the end of a destructive relationship. The second act kicks off with “911” as Gaga asks us to “pop another one,” a reference to olanzapine, an antipsychotic that the singer has made mention of “saving her life.” “Plastic Doll” follows and makes use of legendary DJ Skrillex as co-writer and co-producer, one of many producing powerhouses that adorn this album (longtime collaborator BloodPop dominates along with names like Axwell, Burns, Tchami amongst others).
“Sour Candy” joins the duet brigade by utilizing K-pop’s BLACKPINK and it takes Gaga a solid minute before her vocals appear on the track. The track continues the dance floor vibe but seems to fall short of reaching the heights that “Rain On Me” so effortlessly achieves. “Enigma” is pure anthemic deliciousness and as any clubber will attest to, forces you to resume your post ‘90s position at the center of the dance floor. “Replay” echoes a similar vibe, but the chorus breaks are an unadulterated excuse for Mother Monster’s babies to lose their proverbial shit on the dance floor—a bedroom floor will suffice at this time of pandemia.
Whilst this album is most definitely an album about women and their strengths, vulnerabilities and loves, an unexpected Elton John pops up on “Sine From Above.” Rooted in an EDM sound and with a delicious jungle ending that makes you want to move like its 1994, it was yet again another very unexpected Gaga turn in musicality. Chromatica ends act three with “1000 Doves,” a song that could only be described as that moment you find yourself in musical ecstasy at the center of a dance floor in your favorite gay club, surrounded by a sea of House music, Gaga loving devotees.
Lady G most definitely saves the best for last with the ballroom, “Vogue”-esque house beat pounding “Babylon.” No questions where the inspiration(s) for this made-for-PRIDE paean to the LGBTQ community came from. Having put the track on repeat for a week as I fell asleep, my dreams have never been better (or gayer).
Chromatica is the album Gaga’s fans have been waiting for (some demanding) and as I read somewhere recently, it could be the catalyst for that elusive album we have also been demanding from that other bleach blonde, Italian musical icon. Given the craziness of the world at the moment on pretty much every level, this album is an excuse, no, gives license for the world to escape to a place of sonic joy, even if just for forty-three minutes.
Notable Tracks: “Alice” | “Babylon” | “Free Woman” | “Rain On Me” | “Replay”
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