Returning to the sound of her maximalist electro-pop heyday, Gaga explores buried trauma, mental illness and the complexities of fame on this return to form
A criticism often levelled at Lady Gaga is that the fantastical imagery she constructs around her albums eclipses the music itself. But it’s a sliding scale – and one that certainly mattered less when she was knocking out undeniable dance-pop party starters like Poker Face and Just Dance, or cementing her status as pop’s freaky outlier on the twisted Bad Romance. That she appeared in alien-like form in that song’s video made perfect sense: here was a chameleonic pop superstar in the vein of Bowie, Prince and Madonna opening a portal to an escapist dimension. Later, it made sense that she would lean into the imagery of hair metal on 2011’s gloriously OTT, Springsteen-referencing Born This Way. Yet on 2013’s bloated Artpop – billed as an exploration of the “reverse Warholian” phenomenon in pop culture, whatever that may be, and featuring at least one performance in which she employed a “vomit artist” to puke green paint on her chest – the aesthetic felt more like desperate distraction tactics.
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Continue reading...by Michael Cragg via Electronic music | The Guardian
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