[Forevermore]

New York Post:

Lady Gaga lets freak flag fly on ‘ARTPOP’

We all knew Gaga was a horn-dog but on her third album “ARTPOP,” she really lets her freakiness flow.
Most of the 15 tracks are high-energy dance-pop numbers but listen close to some of the lyrics and you’ll hear that the New Yorker’s mind is also on plenty of post-club activities. “G.U.Y.,” “Swine” and opener “Aura” all touch on the seedier side of Gaga’s life but it’s the same-sex fantasy depicted in “Sexxx Dreams” that is especially likely to get pulses racing.
Don’t take our word for it. Hear it for yourself at iTunes radio ahead of the album’s full release on Nov. 11. And make sure Grandma isn’t listening in.

http://nypost.com/2013/11/06/lady-ga...fly-on-artpop/

What kind of **** review? Doesn't count for metacritic.

[Forevermore]

Red Eye Chicago:

Track-by-track reaction: Lady Gaga, 'ArtPop'

I’m not a Lady Gaga fan. Let’s just put that on the record.
Lately, though, it doesn’t seem like many Little Monsters care much about the pop star’s new “ArtPop” either, if the album’s apparent lack of buzz is any indication. Maybe people have tired of the intense message-peddling that makes Gaga seem like a product rather than a sincere icon for self-esteem and community. Maybe even fans have finally agreed that the gimmicky nature of an artist who, say, plans to perform in space in 2015 is all a big ruse to distract from the weakness of the material.
Or maybe that’s just in my head. So let’s keep that going as I share what’s going through my head as I listen to Gaga’s new record. I give each track a chance, I promise.

“Aura”
Is this acoustic guitar supposed to be the soundtrack to her minor turn in “Machete Kills”? Did she say, “I killed my farmer?” Now it’s a pounding dance track; forget the acoustic guitar. “Do you want to see me naked, lover?” Why would your lover say no? “Do you want to see the girl who lives behind the aura?” What is that referring to? The heavy production reminds me of Justice. You can’t just write a chorus and call it a confession. This song is all over the place.

“Venus”
This sounds like being on another planet, which works. Here’s the terrible, weird singing. Intense drums are an improvement. “When you touch me I die just a little inside; I wonder if this could be love.” Probably not with the whole little death thing. I support the dance-y, percussive refrain of “Take me to your planet” but she’s not actually singing about anything. She mentions other planets; after Uranus she belts, “Don’t you know my ass is famous!” Yes, unfortunately I do.

“G.U.Y.”
An introduction mentions Greek gods and prepares to guide us through new and exciting positions. “I want to be the girl under you.” OK, that gets right to the point. “Love me love me please retweet.” You cannot be serious. Gaga does some gender reversal here but isn’t as empowering when singing, “I’m best when I’m in love, and I’m in love with you.” Fine, just don’t mention Twitter again.

“Sexxx Dreams”
This sounds like an intense trek down a dark hallway. It’s sexier than the last song. “I can’t help my mind from going there.” I know. “When I lay in bed I touch myself and think of you.” Ooh. This is the album’s first effective use of an ‘80s sound. Gaga’s delivery is breathy and features actual singing without pushing too hard. This is the best/only tolerable song so far. Can’t hear the second and third x in the title.

“Jewels ‘N Drugs (featuring T.I., Too Short, Twista)”
This sounds like any other song featuring gratuitous rap guests. High-pitched squeaks don’t help. “Don’t want your jewels, I want your drugs; don’t want your money want your love.” I think I see a pattern here. “I admit that my habit’s expensive, and you may find it quite offensive.” Brilliant rhyme. There’s too much going on here. Now Twista raps very quickly. How novel.

“MANiCURE”
Mentions of lipstick and curling hair make my attention wander. Clapping along is always fun though. I imagine this video taking place in a hair salon. “Touch me in the dark, put your hands all over my body parts.” More genius lyricism, clearly. This could work in a terrible musical. Can I really take nine more songs of this? The wicka-wicka guitar breakdown is good, the song might be OK if Gaga would get out of here.

“Do What U Want (featuring R. Kelly)”
In the background someone says, “Turn the mic up,” I think it was Lonely Island. Sounds like Gaga’s strutting. It’s effective. Her voice is forceful like it should be. I’ll take her Michael Jackson impression over the regular Gaga. R. Kelly’s verse is sexy, a good choice of guest. “Let’s slow it dooowwn.” Awww yeah. “You can’t have my heart and you won’t use my mind, but do what you want with my body.” Gaga embraces sexuality while submitting. Better.

“ARTPOP”
More space beeping. Where’s Beaker from the Muppets? I want to make beeping noises along with it. “My artpop could mean anything.” If you mean anything, you mean nothing. Squealing in the background creeps me out. Who decided that these sounds worked well together? Are there lasers in this room? Is someone sitting on a keyboard? Is Gaga running in place while singing?

“Swine”
Sweaty, bouncy, so far so good. Gaga wails deeply and successfully. I should get on a treadmill right now. Damn, the beat dropped out. I was just getting my burn on. She’s telling a guy he’s disgusting and calls him swine. Can we just get back to the running? I don’t like what she did with her voice just there; too nasal. Who wants to sing along with an artist singing “Swine”? When it’s just the throb, I like it. I could dance to this if I had to.

“Donatella”
“I am so fad. Check out, I’m blonde, I’m skinny, I’m rich and I’m a little bit of a bitch.” I fear for how many people will sing along with this. Now she’s singing about silk and taffeta. This song is not for me. What I think does not matter. She just said “tiara.” “Dolce vita.” Oh, come on. Pre-chorus: “What do you want to wear this spring?” In the chorus she shouts “Donatella!” How much did Gaga get paid for this? I am going to make a pop song about Target. She comment on models eating only salad, having gay friends. This cannot really be a song on an album by one of the biggest stars in the world. I bet it will be popular. Ahhhhhhhhhhhh. Lucky her name is Donatella and not Madge or something. And the next song is “Fashion!”? Isn’t that what “Donatella” is about?

“Fashion!”
Great, piano. It’s a little late for a break. OK, it’s just an intro, back to the funky basslines. “Looking good and feeling fine.” This is music only for VH1 shows I don’t watch. Or Bravo. Yes, definitely Bravo. Blecch. “You’ve got company; make sure you feel your best.” This will be used in a getting-ready montage in a movie I don’t want to see. I’m tapping my foot a little, but I don’t want to.

“Mary Jane Holland”
The keys are pounding again. Gaga sings like she’s leaning backward and trying to sound like she’s in a haunted house. Enough of this. Music during chorus sounds like it’s coated in lard. Is she really singing about Mary Jane and Holland? How about something about the legalization issue in America? This is not edgy. She just said she’s “rich as piss.” OK, you are trying to be terrible. I’m onto you. I was onto you before. But now really.

“Dope”
A piano ballad is needed, a breather from wasted energy. She’s trying to add drama in delivery though, her voice is not good like this. “I know I [bleeped] up again ‘cause I lost my only friend.” Wow, that is bad. “God forgive my sins.” Yikes, that wail just made my face do something weird. Is there no one to tell her what does and doesn’t work? “I need you more than dope.” Well, that’s reassuring. This could be a Buckcherry song.

“Gypsy”
Gaga wonders about the fate of a relationship. “I don’t want to be alone forever, but I can be tonight.” Good, be strong. “I don’t want to be alone forever but I love gypsy life.” I’m sure actual gypsies will love being used for this. Squiggly keys. Makes me think of speed-walking, Gaga defiant, wagging a finger to say “no no no.” This will be used in a romantic comedy. She cheaply mentions Dorothy and ruby shoes. With piano, acoustic guitar and a sing-along-able chorus, this could be a hit. It’s ridiculous but better. Her voice still isn’t good. “I thought that I would be alone forever, but I won’t be tonight.” Wait, this is a monogamous love story. I thought she was challenging norms. You are not a gypsy, Gaga.

“Applause”
Thanks, I do deserve applause for making it this far. Here’s more of that haunted voice. “I live for the applause.” That’s quite a direct way of saying it. Why not write a song demanding, “Please remind me you still like me!” The beat is catchier. She could invite people to clap along. Is this meant to be taken literally? You shouldn’t do it for that reason and you don’t seem to be indicting that inclination, Gaga. It’s fine to say you do it for the fans, but saying you do it for applause just sounds like you do it for approval. If that’s true, I feel sorry for you. The beat is a hit. You are not.

http://www.redeyechicago.com/enterta...,6213285.story

Doesn't count for metacritic.

[jim19911126]

Originally posted by TheGeoKing

Red Eye Chicago:



http://www.redeyechicago.com/enterta...,6213285.story

Doesn't count for metacritic.

Some parts of this review just way too rude

Glad it doesn't count, I can see they're gonna give a 50.

--edited--

I read it again, then I bet they will give a 30

But it seems like the writer is a hater or something, he's keep using "You are not, Gaga".
That review was not fair at all

[MrJacob]

Wow, that red-eye review was terrible. It was not objective at all. It's like the person started the review with the aim to be as negative as possible.

[DevonDreams]

Originally posted by Aram

So, 76 so far! Not bad!

Watch it drop to 50

[Forevermore]

Originally posted by MrJacob

Wow, that red-eye review was terrible. It was not objective at all. It's like the person started the review with the aim to be as negative as possible.

Good thing they are not deemed credible as they don't count.

[Forevermore]

Lists and Grades:

Lady Gaga | Artpop Album Review

Aura

Gaga begins Artpop under an exotic shroud, relating Muslim culture to the trappings of her famous lifestyle. “Enigma pop star is fun, she wear burqa for fashion/It’s not a statement, as much as just a move of passion,” The lyrics are interesting, with moments where you feel like it’ll take off into a soaring chorus. It’s good, but falls a little flat because of the plateau and that it sounds almost exactly like Judas. Strange album opener.

B

Venus

A mash-up of astrology, Roman mythology and sex, “Venus” gives a disco groove that the singer fully exploits in the pre-chorus. The planned second single from Artpop that got shafted for “Do What U Want,” “Venus” misses the mark on its strange phrasing. The incessant stating of the word “Venus” is too much. Still, it’s easy to identify Gaga’s passion toward the concept, and she pulls it off.

B-

G.U.Y.

After blasting off to heaven on “Venus,” Gaga returns to Earth for “G.U.Y.” (which stands for ‘Girl Under You,’) a dance siren that makes the distinction between gender equality and willful sexual submission. Zedd’s nest of production swarms Gaga’s provocative commands, and the sucker-punch of the hook hammers the message home to create a song that would fit right in on Born This Way. The spelling will take a few listens to warm up to though.

B

Sexxx Dreams

Here’s where the sexuality and synth-pop pleasures of Artpop fully bloom: “Sexxx Dreams,” in which Gaga balances a disintegrating relationship and a lustful fantasy, similarly juggles a 80’s aesthetic and R-rated breakdown of unspoken desire. At the “I can’t believe I’m telling you this…” conclusion, Gaga sounds loose and light-hearted, obviously mimicking a dumb girl, letting her audience feel it on the dance floor. Easy to imagine this on stage.

B

Jewels and Drugs

The transition between “Sexxx Dreams” and T.I. thumping his chest at the start of “Jewels n’ Drugs” is more than a little jarring. But kudos to Gaga for giving us her latest tale of fame addiction through the prism of hip-hop, as well as tapping rent a rappers Twista and T.I. She rides the beat wonderfully. Similar to Paper Gangster from The Fame.

B+

Manicure

An obvious choice for a future single, the buoyant Manicure provides everything that a pop fan aching for a new “Teeth” would want. With a chorus that’s grafted onto the listener’s brain after a single listen, double-meanings stemming from shouts of “MAN! CURE!” and a colorful arrangement highlighted by a funk guitar breakdown, this ode to being cured by man sex is a definite hit.

A-

Do What You Want

I’m usually not a fan of random artists like R. Kelly showing up on songs, but the pair of Gaga and Kelly fit together seamlessly. From Kelly’s opening demand to turn the mic up to Gaga’s cries at the song’s end, the pair have envisioned a specific blueprint for their theatrical collaboration, and execute it perfectly.

A

Artpop

“My artpop could mean anything,” Gaga sings on the album’s title track, while later adding, “Come to me, without your subtext and fantasy.” Gaga is an artist that creates for the sake of creation, and this is her manifesto, set over an electro-jazz beast. Obviously less a single and more a statement. It feels like the only reason this even made the album is because it’s the title track.

C+

Swine

Gaga transports her listeners to an angry corner in her mind on the shrieking song “Swine.” The singer sounds physically disgusted as she cuts an “animal” out of her life, and the squealing keyboards concoct a sense of mayhem as she rails against the unnamed pig. “You’re just a pig inside a human body,” isn’t meant to be anything but angry.

B

Donatella

Is she talking about herself or Donatella Versace? Clearly the double meaning is overwrought. And the fact that it sounds like a leftover track from The Fame is neither here nor there. Whisking pop fans into the fashion world and squaring her sights on one of the strongest figures in that medium, Gaga turns “Donatella” into an anthem for the outcasts that have a right to feel gorgeous. Unlike “G.U.Y.,” Zedd’s production work here doesn’t quite hypnotize, but like that earlier “Artpop” track, Gaga embraces the pointedly playful concept wholeheartedly.

B-

Fashion

“Fashion!” is a fist-pumping throwback that is unafraid to play up its campiness and exalt the process of “looking good and feeling fine.” An obvious partner to “Donatella” on the track list, “Fashion!” once again underlines the suggestion that Gaga’s impact on culture extends well beyond the music world. When she sings “I own the world, we own the world,” the listener can’t help but feel part of her world. Again, it only needs to take off a little more to be amazing.

B+

Mary Jane Holland

A good song because of its music, opening riffs and clever lyrics that would be even better if it didn’t sound almost identical to Government Hooker from Born This Way.

B-

Dope

Beautiful music and beautiful lyrics don’t necessarily make a beautiful song. If only Gaga understood the art of being subtle or understated. I suppose the point is to sound like a drug addict, but if Gaga would only pull back and not oversing the song, we’d have something epic. Instead, it’s wasted potential because of how awful Gaga sounds. One can only hope she tones it down for the live show.

C

Gypsy

Thankfully, what might be the best song of Gaga’s career comes next. It’s okay if you try to resist the chills shooting down your spine during this epic ode to loving and living a gypsy lifestyle and the expense of never having a home, or someone to share it with — just know that it’s a lot more fun if you give in. “I don’t want be alone forever… but I can be tonight,” Gaga draws from the classic rock palette of her You and I and Edge of Glory singles. The only downside is that it should be less electro mix toward the end, and stay with a solid guitar the entire way through.

A

Applause

Applause makes for a thrilling encore and end to Artpop. The verses are solid and the hook is even more shimmering after dozens of times digested on Top 40 radio. As always, Gaga has turned an lofty idea into a jingle for the masses.

A

Bottom Line

Gaga needs to be respected in that her music always gets better with multiple listens. Every time I listen to a Gaga record, I never appreciate it until a few times through. It’s like she’s letting us in on a little secret, one which we can’t understand until we get to her level. She’s an acquired taste. Compared to someone like Katy Perry, whose music is often a bit catchier and more easily accessible, but passes through you quickly. She’s a trick or treat compared to Gaga’s Thanksgiving feast.

That said, Gaga’s music hasn’t really changed at all for the better. She has become too theatrical, too over the top, and it shows all over her strange exhausting elocution on this album. To put it bluntly, she just started singing very strangely. This is what happens when someone consciously lives in response to the public and her fans. Just like in Born This Way, Artpop suffers from too many missed opportunities. Dope could be epic if she dialed it back. Aura and Fashion edge on a chorus that could be incredible, but instead are just good. The same can be said for the entire Artpop album.

B

http://www.listsandgrades.com/?p=4276

Doesn't count for metacritic.

[Forevermore]

Entertainment Focus:

Lady Gaga – ARTPOP album review

There’s been so much said and written about Lady Gaga’s ARTPOP before its release that you feel like the album has been judged and mostly written-off by most people already. Indeed the marketing campaign around the release has been somewhat frantic with new songs being fired left, right and centre making it difficult to understand what you should be focusing on and when. Lady Gaga has climbed the fickle ladder of fame and she’s certainly getting the backlash it would appear as she finally prepares to release ARTPOP. Her eccentric behaviour is now labelled ‘attention-seeking’ by press and her declarations that ARTPOP will change the face of music seem to be a bit way off the mark. What is ARTPOP actually like?
In order to properly critique ARTPOP you have to put everything around the album to one side. Forget the bonkers iTunes Festival performance, ignore the complaints about her recent X Factor performance, and put aside her supposed rivalry with every female artist ever (according to the press). Before ARTPOP is released on Monday we’ve already heard 10 of the 15 tracks through one means or another. Of the many things Gaga has said about the album, the one thing that sticks in our mind is Gaga’s insistence that ARTPOP works best when listened to as a whole. You know what she might just be right.

After the disappointment of Born This Way which was a very patchy album off the back of the incredible The Fame/The Fame Monster, ARTPOP lies somewhere inbetween the two. As a body of work it makes for a rather cohesive listening experience with a couple of mis-steps along the way. Certainly on the whole it’s more hit than miss and is free for the most part of the filler that clogged up Born This Way. As we’ve come to expect from Gaga, ARTPOP is pretty bonkers in places and certainly isn’t ‘safe pop’ by any stretch of the imagination. Opening with Aura, one of the most sonically peculiar songs on the album, you know from the off that you’re not about to listen to just any bog standard pop album.

Singles Do What U Want featuring R Kelly, Applause and Venus make more sense in the context of the overall album. Do What U Want in particular is a real grower and a much better track than we initially thought. There are much better tracks than all of these on the record though which could have been stronger singles. G.U.Y. is reminiscent of classic Gaga and a pure pop pleasure whilst the R&B rhythms of Sexxx Dreams are a joyous guilty pleasure. Title track ARTPOP is an electro-pop fest that gets better the more times you listen to it.

On the bizarre side of the spectrum the rocky MANiCURE shows a different side to Gaga whilst Swine is possibly one of the oddest songs Gaga has ever committed to record. On Swine she growls her way through the lyrics whilst shouting ‘you’re just a pig inside a human body’ but sonically the song is pretty adventurous and just about falls on the right side of kooky.

Our favourite moments oddly come on the more straightforward pop moments Donatella and Fashion! The former is clearly an ode to the great Donatella Versace with squelchy beats and a strong chorus in its favour, whilst the latter is just a pure pop joy that sounds a little Scandi-pop and we love it.

Whilst Gaga may think she can do pretty much anything, there’s a couple of moments on the album that prove otherwise. Jewels N Drugs featuring T.I., Too Short and Twista simply doesn’t work and hip-hop/trap isn’t a sound that Gaga can pull off whilst Mary Jane Holland is a plodding track that doesn’t seem to actually go anywhere. Similarly the acoustic-driven Gypsy isn’t a song we’re likely to revisit all that often.

ARTPOP for the most part is a bold, adventurous and bonkers album. It captures all of Gaga’s eccentricity and pushes her sound. We could have done with fewer than 15 tracks but we don’t think anyone is likely to tell Gaga what she can or can’t do at this stage in her career. Whilst the critics already have their knives out for Gaga, we’re glad she’s back and pushing the boundaries of pop music. Is ARTPOP perfect? No it’s not but it’s the most adventurous album we’ve heard in pop this year.

4/5 Stars

http://www.entertainment-focus.com/m...-album-review/

Doesn't count for metacritic.

[Boop]

After the disappointment of Born This Way which

Certainly on the whole it’s more hit than miss and is free for the most part of the filler that clogged up Born This Way

I hate critics so much

[Forevermore]

musicOMH.com - Metacritic Review

Lady Gaga – ARTPOP

“My ARTPOP could mean anything.” So sings Lady Gaga on the superior title track of this, her third full-length studio album since she exploded onto the music scene only five years ago. Given the advance hype emanating from Gaga and her camp, painting the album as certain to “bring the music industry into a new age”, such an opaque statement is odd.

It is not, however, unexpected. Barely-there concepts have been bolted onto Gaga’s work since her straightforward debut, yet it was after the world-conquering success of Bad Romance and its parent EP The Fame Monster (one of the best pop records of recent years) that they started to overshadow the music. Second album proper Born This Way was a laboured blend of ’80s stadium-pop and European EDM which sank beneath a grating appropriation of victimhood; it ended its run with struggling singles and a tour cancelled.

If Gaga initially seemed to understand what had gone wrong, promising that ARTPOP would be “fun” and relatively unadorned, the official album announcement hilariously promising a “reverse Warholian expedition” rather suggested otherwise. Lead single Applause confirmed the worst, its addictive retro sound and soaring chorus being eclipsed by arduously self-involved lyrics which offered little to listeners. It also made the intention behind that otherwise meaningless statement about Warhol obvious – Gaga wants to bring high art into pop, a manifesto underlined by ARTPOP’s artwork blend of Jeff Koons and Botticelli.

Coming hot on the heels of the death of Lou Reed, a figure more responsible for blending art and pop than most, this seems like a rather modest ambition. Quite what it means in practice is unclear: for the most part ARTPOP is a straight musical continuation of the ’80s-indebted dance-pop which has served Gaga so well. The most successful songs, such as the infectiously commanding G.U.Y. and the restrained electro of Do What U Want, bear comparison with peers such as Ke$ha and Christina Aguilera. Such smooth moments are unfortunately few and far between in an album which ramps up the worst aspects of Born This Way.

Album opener Aura offers a tongue-in-cheek electro take on the spaghetti western with its compelling Infectious Mushroom backing track, yet this is squandered on atrocious lyrics which present a dull, sexualised take on the burqa. Still, at least one aspect works – elsewhere ‘songs’ such as Venus and Swine attempt to be self-consciously epic, even if they are instead disjointed messes. This is a particular shame as the former finds a gloriously Abba-esque chorus drowning in an awkward cacophony which rather suggests Sigue Sigue Sputnik. Donatella, meanwhile, offers arrogant clichés of fashion monsters, but you emerge from the wreckage with little clue as to whether it’s camp satire or a woefully misguided empowerment anthem. The relatively simple pleasure of Fashion!, a song beginning with a piano motif reminiscent of Coldplay before fusing ’80s David Bowie and Madonna’s Holiday, suggests the latter.

Given that she’s paid such attention to Madonna’s career, you wonder if Gaga is aware of the famous Norman Mailer interview wherein the curmudgeonly man of letters observed that Madonna followed in the footsteps of Warhol as a “philosopher of voids and silences”. He was referring to a pervasive lack of respect for art which allowed capable figures to step in and stamp their authority; Gaga’s ‘reversal’ of Warhol’s vision could be said to refer to a modern emptiness in pop. She stamps her authority on a pop landscape where the catatonic Britney Spears is viewed as ‘legendary’ and our most successful stars sing a revolving door of Dr Luke/Max Martin/Calvin Harris/David Guetta hits. In this context you need only make the right noises to be viewed as a cut above – it’s telling how frequently you see Gaga referred to as our most ‘interesting’ pop star. Certainly in this context you can understand the thrill of a Janet Jackson facsimile like Sexx Dreams or the Bruce Springsteen nod of Gypsy (itself not far from Gaga’s own The Edge Of Glory).

Yet if she understands how to be viewed as an artist, Gaga lacks confidence in pop as an art form in itself, seeming unable to let a song breathe and instead overbearing it with very deliberate efforts to be seen as a ‘proper artist’. Throughout ARTPOP signifier upon signifier is piled on top of sometimes brilliant melodies, creating enough room for breathless readings of Gaga’s ‘art’ certainly, but failing on the more basic level as engaging pop music. One of her early statements was that ‘pop will never be low-brow’, a suggested understanding that the simple pleasures of pop songs like (for example) Carly Rae Jepsen’s Call Me Maybe or Gaga’s own Poker Face were a powerful and admirable art form in themselves. With ARTPOP, however, it instead seems that Gaga thinks pop needs to be smothered in the language and aesthetics of more traditional art forms in order to have ‘value’.

ARTPOP strikes all the right poses for Lady Gaga’s vociferous fanbase to proclaim it as a work of genius. Taken in a wider context, however, it’s a depressing testament to how moribund pop music is at the moment. Does Gaga deserve praise for making an effort and avoiding the ready charms of Dr Luke and co? She most certainly does – but this doesn’t make ARTPOP a good album. It’s time for a rethink.

2 Stars

http://www.musicomh.com/reviews/albums/lady-gaga-artpop

[jxck]

I quite like the Red-Eye review. It still states that Sexxx Dreams, MANiCURE, Gypsy, Do What U Want and Applause are hits which makes all our single era's look pretty promising.

[Forevermore]

That review is going to drag her score down.

Born This Way got 3 1/2 stars
The Fame got 3 1/2 stars

[Boop]

All great reviews in the last two pages, and of course the 2/5 stars in the only one the counts on metacritic

**** you

[J a y]

That's 3 positive and 1 mixed / average, right?

[Toysoldier99]

I'm predicting 77

[Forevermore]

Yeah, it's still mixed, but the score is going to go down a lot.

[VivaLaDaniel]

I have a feeling that musicOMH.com`s "critic" is a very pressed Madonna`s stan , because every single comparison is funny there

[Forevermore]

They praised G.U.Y and Do What U Want and trashed Donatella, Swine, Aura, and Venus.

Who is surprised though?

Anyway, I'm sure there is worse to come (Tiny Mix Tapes) so this isn't really that bad.

[geo]

What is musicOMH anyway? I doubt they'll be weighted very high

[Bribe]

Philip is an overly-opinionated Scot who has somehow ended up in East London. He grew up competing for time on the shared hi-fi with his brother, whose love for The Beatles, U2 and Nirvana bled into Philip's own pop-obsessed youth. The first album he bought was Madonna's I'm Breathless and his favourite gig to date has been David Bowie's Reality tour at Glasgow's SECC. Philip is a keen writer and aside from his love for music and pop culture he has avid interests in left-wing politics, identity, books and the media. He still think that little compares to going to the record shop on the day one of your favourite artists releases a new album.

That explains the musicOMH.com review