Discussion in 'Pop & Justice' started by mindtrappa, Nov 9, 2018.
Why? Move on sis! You've got 13 other tracks to choose from!
LOVED the Sunday Morning interview, and I always really appreciate how candid she is about her mental health struggles. The more people with a platform like her talk about it, the better.
Also, the way her interviews spawn off the best gifs
Nothing is 100% confirmed. Both a remix album and a re-release with new tracks were hinted at early on, though. And we know there are more mixes that have yet to be released because they were played during the Paper Magazine livestream she did.
Campaigning for that Pop Duo/Group Performance Grammy.
I'm sure Taylor already has that locked down with whoever she collaborated with on that indie record thats much cooler than Gaga's.
I still want a full visual for this
She needs to give us a full on music video like this. Since it’s the obvious visual for this, she’ll go the complete opposite direction of it and we will have to deal with it. This goes for any music video she does.
So 911 is really in her top 5 best videos huh.
If only this was an anthology video album.
just say Bon Iver
I didn't remember who it was and wasn't gonna look. You knew who I was talking about anyway so who cares?
It’s a reference
I understand that Chromatica has to balance its references with easily slotting in on Today's Top Hits without being too jarring so I'm not too mad about the overly polished production. Maybe we can get something spicier with a remix project.
But ARTPOP has stronger production than Chromatica.
When people say watered down I think they just mean it's unadventurous, sonetimes flat and sometimes a bit cheap sounding. Too many random/rogue elements like that weird synthetic horn at the beginning of Rain On Me, and the note at the end of Free Woman, that just cheapen things. Or Sine having a fucking 2012 EDM drop which has absolutely nothing to do with the rest of the song sonically. Too many cooks on that one.
I still fucking love the album by the way. The songs are fabulous start to end. But it's OK to admit the production isn't it and no amount of "oh but it was a deliberate homage to X sound because BloodPop had X microphone/synth in the studio!" alters that.
The production on ARTPOP could have been great, and it certainly has the seeds. I’m an ardent ARTPOP defender, my dear. But it’s okay to admit that Gaga most definitely went in last minute and gutted those songs, and a lot of them don’t reach their potential because of it.
The very things you’re accusing Chromatica of being are all right there on ARTPOP. And that’s not throwing it under the bus, it’s just a fact. Everything Gaga talked ARTPOP up as when she was still working on it (a tribute to club culture, rave, etc) didn’t really come to fruition. Meanwhile there’s a pretty distinct through line from the 90s all the way to now on Chromatica. It’s a much more successful outcome.
It’s fine if other people think otherwise, I just don’t really buy the “too many cooks” nonsense when from the sounds of it – and we do have examples – the songs became better after going through a few runs.
I don’t know if it is a case of too many cooks or just the wrong choices in them (for me). Outside of Alice, I think Axwell’s contributions to Free Woman and Sine are... not good, at all. I don’t really think it’s all on Bloodpop, because a lot of the stuff he helmed is pure excellence and comes the closest to her 90s house brief, such as Babylon. Similarly, Burns produced equally amazing stuff such as Replay. The bones of a great record are there (and then some), it just feels lacking and sorta flat, like it settles into gear and cruises, when it had the potential to really blast off. I endlessly wish Boys Noise had stuck around since I feel he’s the person who just gets the sound she was after, but that will just have to remain a what if?
In hindsight I would have loved if she delved a little deeper into the actual hallmark producers and DJs of the 90s and 00s dance she was referencing. I know that she and Bloodpop (rightfully) honour the black voices behind the genres they were working on but it would have been nice to see that in the village that made the album as opposed to what is essentially a bunch of frat boy dance producers. I think it really could have added that authentic stamp the album feels lacking of in places.
I like all the people BloodPop brought in (especially BURNS, shoutout to Make Me) so I don't think it was production by committee either, many masterpieces have multiple producers. Making the production more streamlined and toning down the very overt 90s influence was a conscious choice.
I’ll be honest, I don’t think this thought even occurred to them during the album process and it only came up during BLM. And I’m glad both acknowledged it but while the brief was always 90s and 00s dance, BURNS essentially confirmed it was done through a very European (white) lens, and they were successful in that. For better or worse, it’s still authentic for what they were going for at the time. I do think if they went the other direction, the sound would have significantly different and maybe more American.
I hate the Replay sample, it is very Halloween-y. Like the soundtrack to a Casper spin-off about the ghosts having an old-school Hollywood party.
I agree, I don’t think it crossed their mind, but it has always felt a wider issue with her work. The lack of female and POC producers and writers in her discography has always been at odds with her general message (and the music she makes), and I’d love to see that rectified in future. This album would have been the perfect place to do it.
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