Discussion in 'Pop & Justice' started by mindtrappa, Nov 9, 2018.
Muffy sis the effort. You officially did more than Stefani this entire era. DDddd
This is basically how I’ve read the acts as well. I wouldn’t call Babylon tacked on though. It’s just kind of like an epilogue to me. An acceptance. She’s defiant and ready to ‘battle for her life’ as those around her ‘gossip’ and ‘babble on’, and she simply doesn’t give a fuck, whew.
"Babylon" does very much feel like a "roll the credits" background song after the climax of "1000 Doves".
To be honest, I feel the exact opposite. After Joanne, the possibilities felt a lot broader and more intriguing. She continued to experiment musically (going more organic and I think gaining a deeper understanding of music production), but broke new ground in terms of themes and lyrics. I think this album is a bad sign of things to come if anything. A jazz album, more side projects (mostly acting), and another safe album to keep the cash flowing would be my guess.
I had a listen in the car, started at Rain on Me and it was fucking great. I had doubts at first and during the first listens, but warmed up and love it now.
Honestly the most unrealistic thing about this scenario is the possibility of them ever allowing one of these tracks to go over 3 minutes
ffff these "Wow, you know what? I put the album on when I was out driving at 100MPH mowing down pedestrians on this lovely summer day and..." posts. I don't think I've ever seen one of them end negatively.
Free Woman and Replay needs to be singles.
Interesting that Plastic Doll sampled Technology by Daft Punk.
I never knew I had it in me to dance anymore!
I've been trying to articulate how I was feeling without really knowing how to say it, and this is it.
There's no Gaga flair to this. There's no flavour, no edge, no grit. I wasn't expecting (or wanting, for that matter) her to come back with an album like Born This Way, nor was I expecting another album like Joanne. If she really just wanted to make an easy dance album, a song like "Alejandro" shows that she can do an uncomplicated, summery bop really well. It's rich, it's evocative, and it's just plain good.
Her stamp isn't on this album and I think that's what I'm struggling to reconcile with. I know people have placed blame on Bloodpop (once again, fuck him for reposting that meme), or that there were too many cooks in the kitchen, or whatever. But at the end of the day, it's Lady Gaga's name that appears on the album and it's in Lady Gaga's power to control how the album sounds. And the fact that she was eager to give people the Famega comeback that they wanted with an album that sounds literally nothing like The Fame, while also negating nearly a decade's worth of growth, is really kind of devastating to think about.
Cuz you’re a free woman! Aha!
Three hundred pages later, and I’m here to make it clear that “Alice” is a fucking bop.
I mentioned this a few days ago about how botched her self-mythologising always seems to go, and I honestly think it's because she possibly doesn't remember that time in her life fondly so it's hard for her to conjure it with any kind of affection. It's even when she's been interviewed over the years where that part of her life is treated vaguely rather than in specifics but we start to get actual named events from 2014 onwards.
Eh, I don't know. She's too talented to completely write off, but I also just don't know if her overall approach these days is going to produce something that interests me. But if this is how she needs to operate for her own good, then fair enough.
Whilst queuing outside Sainsbury’s today, someone drove into the car park, windows down, blasting Rain On Me, it was a moment, the most I’ve enjoyed queuing this entire 10 weeks.
I’ve settled into the record and find thing I enjoy in every song. The length of the songs feels increasingly unforgivable, though. And for some reason the wishy washy concept isn’t what’s annoying me most? It’s all one big “what I ordered / what I received” vibe, when all this super nerdy but fun stuff about tribes and planets and the Geiger-but-camp imagery and the pink hair and and and... it’s literally just something she brainstormed in a meeting with the marketing department. Which I could have guessed but I hoped she’d expand on it in the album booklet or by like...categorising the songs into tribes. SOMETHING to make the digestion of this era a little more fun.
I should be used to her announcing something interesting only to deliver something entirely different by now but whew.
Everyone’s hating it and lapping up Sine From Above (biggest offender on the production front for me..) but Plastic Doll slaps. I love how it sounds constantly on the verge of collapsing in on itself - and her little squeal after the bridge is an underrated moment.
I thought I was alone loving Plastic Doll, nice to see you’re a fan! There’s some lyrics in the middle 8 which make me cringe a bit, but other than that I do love it, the pre-chorus melody alone.
I mean it makes me cringe to start but it sells it to me a few lines in to be honest. And frankly it doesn’t feel like the rest of the album soars in comparison.
Every time I listen to the Sine from Above outro.
Babylon would totally be a 5 minute opus on albums past, as I suspect it will or was intended to be so as part of the cancelled tour encore. It’ll be interesting to see how the Haus Labs version differs. Can we get a mastered Free Woman demo mix while we’re at it? Or any remix of that to unlock the lyricism to the heights it deserves. Boys Noize, now is your chance.
Oh I agree - that’s what I said I didn’t think she’d stray too far from the dancefloor with the next one considering the success of this album. I think she can play safe and still make something more interesting than this. Whether she wants to is another story.
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