Discussion in 'Comeback corner' started by cherryboomboom, Dec 22, 2009.
Brilliant write-up on ARTPOP there - had they really not reviewed it before?
Lindsay Zoladz said she was supposed to review it at the time, but got sick, and nobody else wanted to cover it.
I know it's a retrospective review but ARTPOP getting the same score as Chromatica and higher than Joanne is..wild.
Really loved the write-up though!
I am glad that people are finally appreciating and understanding ARTPOP, even if it’s nearly taken them a decade to do so.
Haven't had a chance to read it yet but I was incredibly drunk last night and getting the notification that Pitchfork's review of ARTPOP was out was incredibly confusing dd.
I like that the Pitchfork ARTPOP write-up pretty much centers sexual trauma at the core of the record. I have always felt that it was the underlying topic throughout the entire album just beneath the manic colorful surface, which ironically has made me appreciate it that much more as the years have gone by. Sis was going through it.
ARTPOP really is an incredible collection. Barely contained chaos and raw as hell. Glad Pitchfork finally devoted some real space to it.
The most interesting bit of the review for me is learning that Robert Christgau was one of the few critics who came to bat for the album in 2013 - I missed that at the time! I don't want to blow undue smoke up his ass just for being a Veteran Rock Critic obviously but to see someone with decades of perspective understanding its merits and dragging other crits for calling it 'insincere' is really interesting and kind of pleasing.
Joanne is a more consistent set of songs for sure but I would argue that if you cut some of the chaff off of Artpop, it would be just as strong, if not stronger.
This surprised me too; I'm not a fan of his writing style or opinions a lot of the time, but his defense of the album was nice to see.
Music reviews honestly became obsolete when streaming became a thing. Game reviews are still useful because nobody wants to waste 60 bucks on a bad game that they might not have been able to preview themselves (not every game has demo and demos are not really that representative). But with an album, I can sample it/listen on Spotify easily without losing money or much in the way of time.
Different subject but I still don't get why Fun Tonight is so reviled. The melody is nice, the lyrical content is decent, and I feel more emotion coming from it than most of the other songs on Chromatica. The production does sound a bit cheap/cheesy but it's not the kind of song that really needs cool and expensive sounding production. I use it quite a lot.
“Fun Tonight” is fine, it’s the Coachella crowd baiting drop that ruins it. Although the tour proved that maybe it should have stayed a ballad.
“Fun Tonight”’s production is unforgivable. I can almost picture her sitting at the porch cigarette in hand, shades on, looking away at the sunset while she lets Bloodpop have fun taking over inside in the studio room. Thank god for the lyrics and melodies that still mostly came from her (if I’m not mistaken).
Gaga has had a lot of songs that are great ballads be also great dance tunes. Fun Tonight is not one of them. I wish Gaga liked releasing tour things, because i'd love to get a good recording of the tour version instead.
I've always loved Fun Tonight, even if it feels a bit beneath her. The production could use a facelift, but the lyrics feel relevant to her career. Tour gave it so much needed new life.
Fun Tonight basically sums up how I feel about the album. Some great lyrics/melodies/emotions that were let down by the rather clunky, corny, and sanitized production. Still shamelessly love it though.
I maintain that the actual topline of Fun Tonight is genuinely incredible and just really really needed a different producer. The melody is like top 5 on the album but the whole package is just worse than the sum of its parts unfortunately.
"Fun Tonight" has always been my least favourite song from the album, alongside "Love Me Right".
In totally random leaks, a final version of Let Them Hoes Fight with Gaga and Trina found its way online. Different from the demo that surfaced over a decade ago.
Melodically the topline is one of my favorite bits of the album.
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