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Celeb News: ARTPOP Official Reviews: 61/100
Member Since: 8/19/2013
Posts: 34,855
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Wow, I was dead wrong with how ARTPOP would be received. I was sure it was going to score at least ten points higher. I mean obviously it's going to change but still.
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Member Since: 8/5/2012
Posts: 1,139
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As a Gaga stan since 2009, and one of the few who didn't jump ship during the BTW era, I can honestly say with no bias that this is Gaga's worst album. The biggest problem for me is that she hyped this up so much, going on and on about blending ART and POP blah blah blah, but if the music doesn't add up, all that talk doesn't mean anything. There's nothing ground breaking or experimental on the album. Hell, even "Born This Way" had more experimental tracks than this album, even if they didn't always work. (Bloody Mary, HML, Government Hooker, etc.) It's just very formulaic. The 62/100 score is just right in my opinion. For the next album, I hope Gaga will just keep her mouth shut and let the music speak for itself.
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ATRL Senior Member
Member Since: 8/1/2012
Posts: 27,547
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Don't know if this has been posted but
Quote:
http://www.muumuse.com/2013/11/lady-...m-review.html/
Lady Gaga wasn’t kidding: Her ARTPOP really could mean anything.
Like nude yodeling in the woods with Marina Abramovic. “I am every icon.” The Jeff Koons gazing balls. The Perez Hilton Is Stalking My Entire Life And Trying To Kill Me tweets. #StopTheDramaStartTheMusic. That cardboard square “Applause” opener at the 2013 MTV VMA’s. Fozzi the Bear as headpiece. ArtRave. The Berlin Wall space alien. That mustache. Flying dresses. ART. POP. SEX. TECH. FASHION. KOONS. PEREZ. WEED. GOOSE.
The ARTPOP era has been, well…a lot.
But to appreciate ARTPOP fully — that is, to truly immerse oneself in the Reverse Warholian Expedition — one must distance themselves entirely from the noise, the outfits, the hashtags and everything in between, take a deep breath and dive in with willing ears and open arms — to hold onto a blue Koons gazing ball, of course.
It should be fairly clear by now that the ARTPOP era is Sister Swine’s messiest, most convoluted moment to date — but then, that certainly seems to be what she was going for. Last summer, Gaga’s campaign promise for ARTPOP — back when she was still performing the Born This Way Ball and getting high a whole lot — was to create a record with “a tremendous lack of maturity.” (That she was being carted around the stage as a human motorcycle during that tour is beside the point.)
ARTPOP certainly ticks that box — it’s nucking futs.
The album itself plays like a very conscious response to the ongoing backlash Gaga’s faced since the entire Born This Way era — from the endless Madonna comparisons (which now feel quite reductive), to the chart performance of her last few singles, to her intention as an artist.
At some point, it became clear to those actually paying attention to her ARTPOP antics that Gaga wasn’t actually being all that serious. She was playing into the over-the-top hype stirred during the last go-around: Early into the “Applause” launch, she poked fun at herself with an anti-Gaga viral video in which she declared herself, quite amazingly, “a flop.” And when she performed her single at the VMA’s (which was completely overshadowed by Miley‘s twerking), she wandered onto the stage to the sound of pre-recorded boos. Even the single artwork for “Applause” — albeit a shameless rip-off of Bowie‘s “Scary Monsters” artwork (it’s Gaga, you should expect nothing less!) — reimagined Gagaloo as The Clown.
She became the attention thirsty butt of the joke in pop music; the court jester — and she’s certainly continuing to own that: “THIS IS THE ALBUM OF THE MILLENNIUM!” she declared on Twitter. “I was trying to think of something more ridiculous than Millennium..ALBUM OF INFINTE!” she joked later.
And so, to craft the record of the millennium, Gaga enlisted her go-to producers — DJ White Shadow and RedOne, as well as a few new faces in the EDM world: Madeon and Zedd. There are a few guest producers as well — including Infected Mushroom on “Aura” (actually, it’s just a sample of one of their songs), Rick Rubin on “Dope” and weirdly, will.i.am and David Guetta on “Fashion!” — oh, and Gaga herself on “Venus.”
Despite her eclectic style (understatement of the century), Gaga’s albums always follow a general theme or narrative: The Fame was a frothy, frivolous ode to, uh, fame (duh!), The Fame Monster addressed the darker side of fame (sort of!) and Born This Way was all about self-empowerment (gays!). ARTPOP is no exception, although it’s perhaps her most convoluted theme yet — a cross between the worship of art, both modern — including her new BFFs Jeff Koons and Marina Abramovic — and classic, like Botticelli’s “The Birth of Venus,” astrology (VE-NUZ) and a little bit of Bedtime Stories-era Madonna‘s “go **** yourself, haters” attitude. (I’M NOT SUGGESTING IT’S A RIP-OFF, PLEASE PUT DOWN THE TORCHES.)
Appropriately (and/or unfortunately), ARTPOP kicks off to the sound of a with one of its most aurally jarring productions: “Aura,” a half brilliant, mostly insane song that leaked early into the ARTPOP promo campaign in demo form. The intro might explain its curious position in the tracklisting: “I killed my former and left her in the trunk on highway 10 / Put the knife under the hood / If you find it, send it straight to Hollywood,” Gaga murderously deadpans. That’s right — her former self is dead. Stefani, maybe? Or is it the hair bow-wearing Gaga that we fell in love with? Who knows? Someone’s dead. HAHAHA! After a maniacal laugh, the song weaves haphazardly between completely unhinged verses (that have been dulled after an unnecessary re-recording, worst!) and an utterly heaven-sent chorus of “Bad Romance”-level excellence — or even beyond: “Do you wanna see me naked, lover? Do you wanna peek underneath the cover?” she cries. It’s such an earnest, gorgeous melody that, if polished, could have been part of the greatest pop song of 2013 — but then it’s back to the ****ery — a touch of cultural appropriation here (“enigma pop star is fun, she wear burqa for fashion!”), a bit of naughty genius there (“But in the bedroom, the size of him’s more than enough”). ART. POP.
Nothing is more fun and immediately infectious than “G.U.Y,” an unapologetically thirsty, astronomical gender**** moment of pop perfection: “Greetings Himeros, God of Sexual Desire,” Gaga announces at the start atop a dinky, 8-bit intro (that sort of sounds like “Judas”): “Son of Aphrodite, lay back, and feast as this audio guides you through new and exciting positions.” You see, it’s all about being the G.U.Y (that’s the Girl Under You — DO U SEE WHAT SHE DID THERE?) getting rammed to the heavens by her G.I.R.L: “I wanna be that guy (G-U-Y),” she moans across the chorus, one of the most immediately, endlessly replay-ready cuts on the record. And don’t worry, sexuality studies majors — it’s empowering! “I don’t have to be on top to know I’m wanted, ’cause I’m strong enough to know the truth,” she declares. An inspiring assertion of power via insertion — and a new national anthem for power bottoms everywhere.
Further on, Gaga draws inspiration from a sound that will never go out of style. “Sexxx Dreams” — one of the album’s best moments — is a purely Prince/Vanity 6-inspired production, seductively sauntering into the speakers across a nasty, smutty slap of a beat. “Heard your boyfriend was away this weekend / Ya wanna meet at my place?” Gaga beckons. (Can’t you just imagine her rolling around in a Kermit The Frog negligee? Tempting!) From the moaning background vocals (“It was kind of nasty!“) to the (“makin’ love in my sex dreams!”), there’s no part of “Sexxx Dreams” that isn’t purely aural sex.
While ARTPOP is more explicit than her past records, it’s hardly a sex album: “The Edge of Glory” was one of the moments Gaga truly got her earnesty right on Born This Way, and she’s brought that formula back on ARTPOP in the form of an ode to love in the time of wanderlust, “Gypsy.” A fan favorite from the start (thanks to a poignant, mustachioed piano performance in Berlin), “Gypsy” is the kind of arena anthem that already sounds like it’s being belted in the middle of a sold-out Madison Square Garden. It’s a slow and steady build, but once it reaches that Journey-esque chorus (“I don’t want to be alone forever, but I can be…TONIGHT!,” there’s no going back. Cue the endless intercontinental shout-outs at the end (“I don’t speak German, but I try!” — a cute nod to “Scheiße”), and you’ve got an instant classic from ARTPOP.
Speaking of classics from the album, “Do What U Want” is one the album’s strongest moments by far — and, as it turns out, a smart choice for a second single, in part because the production is so refreshingly coherent and simple in comparison to the rest of the record. The vaguely Island-tinged electro-R&B groove sees Gaga trading off seductive verses with her new pal R. Kelly. “You can’t stop my voice ’cause you don’t own my life, but do what you want with my body!” she yelps — or, more accurately, “DURWHATCHUHWAHWIMMAH BAAAHDAY.” R. Kelly is a silky-smooth co-pilot, past #drama be damned: It’s as much a response to media criticism as it is a sexy back-and-forth about getting it on, as multi-purpose as it is melodic; a rare moment for Gaga when the message doesn’t overpower the melody.
That being said, “Venus” is all sorts of incredible too — but not nearly as radio-friendly. Gaga’s gone Barbarella in the kitschy, campy, Sun Ra-referencing number. With lyrics clearly concocted after one too many nights gazing at the emoji on her iPhone (“Aphrodite lady seashell bikini…garden panty”), the song initially plays as overwhelming as the ARTPOP era feels. But give it time — the actual chorus is “Bad Romance”-level good. “When you touch me, I die just a little inside / I wonder if this could be love,” she mini-orgasms. Also, that planetary countdown? “Uranus…DON’T YOU KNOW MY ASS IS FAMOUS?” Genius. The way she pronounces “Venus” (“VEE-NUZ“) is worthy of heaps of praise alone — and yes, she definitely knows it sounds like “penis.”
There’s only one moment on ARTPOP that is staggeringly inconsistent with the rest of the album (remember — her ARTPOP could mean anything!), and that’s “Jewels N Drugs,” the #SomethingMoreUrban moment of the album. Whereas Gaga dips her feet nicely into slinky R&B sound on “Do What U Want,” “Jewels N Drugs” dives headfirst into ominous trap beats, DJ White Shadow-produced EDM breakdowns, mile-a-minute verses from a slew of guest rappers (T.I., Too $hort & Twista) and Gaga’s over-the-top theatrical flow. It sounds exactly like what I imagine Judy Garland high on purp in the clurb would sound like — messy as hell, but sort of fun.
In fact, there’s only one song that drops the Koons ball entirely: Whereas “Gypsy” soars as a piano-led ballad, the Rick Rubin-produced “Dope” drags. Severely. The song had promise when it first premiered as “I Wanna Be With You” during the iTunes Festival, but now — with revised lyrics that more explicitly address the (applause worthy) underlying message about sobriety and success — it’s just dull. Painfully so. And when the emotion turns on, it’s cartoonishly inflated. (Admittedly, I’ve never been too fond of Gaga’s ambling piano balladry, but this one’s truly just irredeemably meh.
There are a few tracks that feel like Born This Way leftovers as well: The stomping, hand clap-happy “MANiCURE” receives a nice polish following its live debut at the iTunes Festival, including an incredibly catchy “Can you feel it? Can you feel it?” chant. It’s sort of like a lovey-dovey cousin to Born This Way‘s “Bad Kids,” with a signature Gaga stutter-filled chorus (“Muh-muh-muh-manicure!“) atop fiery glam-rock guitar licks.
Then, there’s “Mary Jane Holland,” which might as well be a marijuana-minded sequel to Born This Way‘s incredible “Heavy Metal Lover.” The synth-heavy production washes across the speakers with a menacing stomp, as Gaga travels abroad to Amsterdam making deals with devils and meeting up with her girl, Mary Jane. The track is a killer, but it’s also so heavily produced and layered with electronica that you can barely understand what Gaga’s even moaning. (On the first listen, I’m hearing “My dachshund, Russian hookah, empty bed!”) But it’s the heavy metal breakdown at the 3-minute mark though that lifts the song into another dimension: “I know that mom and dad think I’m a mess / But it’s alright because I am rich as piss!” (So much for hating that money, right Gags?) This one’s one of the very best of the bunch — those yelping hooks will linger in your mind like a strong puff of the good stuff.
“Fashion!” is a fun one for ARTPOP, and a chance for will.i.am and David Guetta to share a rare moment of diversity away from their usual paint-by-numbers dance floor style. (“Scream & Shout,” this is not.) The track feels like a blend of David Bowie‘s “Let’s Dance” with Daft Punk‘s “Get Lucky” — in other words, it sounds like a Nile Rodgers production.) There’s a dozen earworms jammed in there and so, so many memorable lyrics — “I own the world! We own the world!”, an opulent hat tip to Paris Is Burning as well as a “Marry The Night” shout-out — that keep the record both looking good and feeling fine.
Of course, the couture lovin’ doesn’t stop at “Fashion!” Lady Gaga’s got a special ode for her special friend Donatella Versace on the record — and it’s pure, unadulterated camp. “I am so fab,” she deadpans in the “Donatella” opening. “I’m blonde, I’m skinny, I’m rich…and I’m a little bit of a bitch.” The glitchy, stomping thumper feels like a throwback to the days of “Fashion” (the 2009 version), when things were a bit sillier and deliciously, playfully materialistic. “Just ask your gay friends for advice before you get a spray tan on holiday in Taipei!” Sure, all that “thin” talk might go against the mission statement of the Born This Way Foundation, but don’t get too butthurt about the lyrics (and don’t get butthurt about “butthurt”) — it’s all tongue-in-cheek. Plus, that beat is sick. Voodoo, voodoo, voo-do-na-na!
Gagaloo lets her freak flag fly higher than ever on “Swine,” which is clearly the album’s most unhinged moment, as she lashes out against a pig (in a human body, that is) across several hair-raising, teeth-gritting, heart-stopping acid techno-laced beat drops. “Squealer, squealer, squealer/ You’re so disgusting! You’re just a pig inside,” she declares. It’s a blood-pumping rager — the song you blast while taking swings at your Perez punching bag and exorcising those demons along with Gaga just as soon as you hear that primal, spasm-inducing squeal: “SWINE!” Judging by the balls-to-the-wall iTunes performance, this one will go down huge in concert.
Considering the fact that “ARTPOP” is the title track, you’d think that the song would pack a serious wallop — but in fact, it’s actually a fairly understated gem. The song pulses along a subtle, soothing electronic pulse similar to Selena Gomez‘s “Love You Like A Love Song” (Gaga always copies the legends of pop!), cooing sweet nothings and inviting us into her lady seashell-covered bosom. “Give it time, sometimes the simplest move is right,” she sings. She’s right, which is why “ARTPOP” itself works so well.
“Applause” rounds out the collection — a curious way to treat a lead single — but it still feels like the right first impression for the album. The verses are nerdy and abrasive; the chorus is heaven-sent earworm electro-pop goodness. It’s a solid representation of ARTPOP — the showy, self-important “nerd” girl (“Some of us just like to read!”) and, mercifully, the Lady Gaga that still just wants us to dance five years later.
ARTPOP is The Fame without The Filter, meaning that the songs are defiantly weirder, wilder and vastly less manicured. “Mary Jane Holland” sounds like “Heavy Metal Lover” being played on loop on top of itself. “Venus” contains a chorus of “Bad Romance” proportions tucked away inside a Mystery Science Theater 3000 theme song. “Aura” pairs utterly garbage re-recorded verses that seriously lack bite with one of the year’s best, most transcendent pop choruses. The magic is still very much there, albeit somewhat buried underneath layers upon layers of EDM and mangled hooks, left in place only by an artist with a history of “creative differences” who has clearly surrounded herself with a team of yes men — or rather, “YASSSS” men.
There are far too many ideas here and too many sounds being explored all at once, which is bound to distract and annoy the general public. It’s something that may eventually come back to bite her — in fact, that time may very well be now.
Still, the backlash against Gaga is boring.
Yes, Gaga is exhausting — but she always has been, which is why the criticism being hurled at her right now seems pretty unjustified — and that’s coming from somebody who took every opportunity possible to call her a Madonna tribute act for years. “Her lyrics are nonsense.” Um, was “bluffin’ with my muffin” particularly revelatory? “She just wears that stuff for attention.” Uh, you guys didn’t seem too mad about the meat dress when that happened. “I’m scared of her crazy mouth noises!” Was she not wailing during those early “Poker Face” and “You & I” piano performances, too? “She’s ripping off [INSERT ARTIST HERE]“! Yes, true, but she was ripping off Bowie, Grace Jones and Madonna from the start and you loved it then. Also, this just happens to be her most sonically unique record to date.
Let’s be real here: Lady Gaga might be fifty shades of extra, but she is still incredibly important as a pop star. She’s a supremely talented performer — one of the best live acts we have in pop music at the moment — and ARTPOP is a standout, injecting as much weirdness and awkward art world references as it possibly can into a solid pop record before crossing the line of mainstream radio-friendliness. (That’s not to say ARTPOP is the most sonically innovative pop record of the year, because it’s not — dance music isn’t exactly a new sound.)
Too much of a (mostly) good thing isn’t a bad thing at all, especially considering today’s pop climate.
In a year when Lady Gaga’s fellow heavyweights didn’t really seem to try very much at all — when Beyoncé inked a $50 million deal with Pepsi to go on a tour to promote nothing in particular and tease snippets of songs in H&M commercials that no one can buy on iTunes, when Britney landed in a helicopter in the middle of the desert for no reason to announce a Vegas residency that she may or may not even want to do, and when Katy Perry released an inoffensive collection of Teenage Dream B-sides for 14-year-olds — pop music’s greatest try-hard gave us the year’s most fabulously over-the-top shitshow that absolutely deserves your applause.
‘ARTPOP’ was released on November 11. (iTunes)
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Member Since: 4/21/2011
Posts: 19,331
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Quote:
Originally posted by Glam
It doesn't make sense to me because one of the main arguments I hear is that she didn't evolve and the songs are too similar to her old ones. Then how can people that were obsessed with this bitch before dislike the new songs if allegedly she didn't do anything different? ESPECIALLY when everyone was saying that after BTW she needed to tone it down and go back to her usual self. Don't you realize people are bashing it for the sake of it?
I think some people are just wanting to jump ship cause ARTPOP isn't getting good reviews or a lot of hype (sales).
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Exaclty
their self-clock is just too much sometimes
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Member Since: 4/25/2011
Posts: 7,482
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Quote:
In a year when Lady Gaga’s fellow heavyweights didn’t really seem to try very much at all — when Beyoncé inked a $50 million deal with Pepsi to go on a tour to promote nothing in particular and tease snippets of songs in H&M commercials that no one can buy on iTunes, when Britney landed in a helicopter in the middle of the desert for no reason to announce a Vegas residency that she may or may not even want to do, and when Katy Perry released an inoffensive collection of Teenage Dream B-sides for 14-year-olds — pop music’s greatest try-hard gave us the year’s most fabulously over-the-top shitshow that absolutely deserves your applause.
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Well, when you see it like that...
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Member Since: 9/13/2012
Posts: 29,559
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Quote:
Originally posted by TheBronxGirl
How is BTW better than ARTPOP? Government Hooker, Scheiße, Bloody Mary, Heavy Metal Lover, The Edge Of Glory and maybe Marry The Night were the only really good songs on there to me.
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I guess it depends on how you decide what makes an album superior. imo BTW still contains her absolute career highlights (Govt Hooker, Bloody Mary, Heavy Metal Lover, MTN, TEOG) but as an overall album it is dragged down by several tracks. I think TFM and ARTPOP are better as albums--they're more consistent.
But someone else might think those 5 flawless tracks alone make BTW her best, which is perfectly valid reasoning if that's how they like to view it So I could see either side.
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Member Since: 10/3/2010
Posts: 50,276
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Not surprising since it is technically her worst album. Since she has never reached lows as low as Donatella, Fashion!, Swine, Jewels, and Manicure. All but 6 of the tracks are mediocre as well.
Basically the saving grace of this album is Applause, DWUW, GUY, Gypsy, Sexxx Dreams, and Dope. I guess these brilliant tracks weren't enough to "save" the score though.
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Member Since: 3/15/2013
Posts: 43,126
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Quote:
Originally posted by TheGeoKing
Not surprising since it is technically her worst album. Since she has never reached lows as low as Donatella, Fashion!, Swine, Jewels, and Manicure. All but 6 of the tracks are mediocre as well.
Basically the saving grace of this album is Applause, DWUW, GUY, Gypsy, Sexxx Dreams, and Dope. I guess these brilliant tracks weren't enough to "save" the score though.
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Lol bye
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Member Since: 2/15/2012
Posts: 15,569
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Quote:
Originally posted by TheGeoKing
Not surprising since it is technically her worst album. Since she has never reached lows as low as Donatella, Fashion!, Swine, Jewels, and Manicure. All but 6 of the tracks are mediocre as well.
Basically the saving grace of this album is Applause, DWUW, GUY, Gypsy, Sexxx Dreams, and Dope. I guess these brilliant tracks weren't enough to "save" the score though.
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I actually agree with you on these, Geo. As much as I disliked Applause initially, I think I appreciate it more now, knowing that it... is in fact one of the better songs on the album. I admit to being wrong.
I kinda like MANiCURE though. It's better than Venus
The bottom four for me are
12. Mary Jane Holland
13. Donatella
14. Fashion!
15. Venus
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Member Since: 8/3/2012
Posts: 19,910
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Swine actually has one of the best productions on the album. It's clean, not clustered. The song has an attitude and it's actually catchy.
Donatella, Fashion, MJH, Jewels & Drugs though
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Member Since: 8/18/2013
Posts: 4,663
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Submitted a user review myself
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Member Since: 10/3/2010
Posts: 50,276
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The criticisms of Dope are ridiculous. Dope has some soul in it, it came straight from her heart and you can FEEL that in the track. That is really the main problem with ARTPOP in my opinion. There are a lot of tracks where the production really drowned the soul and emotion that some of the tracks could have had. Some of the songs feel so void and soulless. That is why I prefer Born This Way. While being overproduced, you could still feel the soul in most of the songs.
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Member Since: 9/9/2012
Posts: 3,674
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The reason BTW is better than ARTPOP is that it still contains that TFM sound in an even more dark and industrial way. Even the cute tracks are only cute sounding thanks to the lyrics like in Hair or Bad Kids. Have you ever listened to the BTW instrumentals? They're, for a mainstream pop album, very experimental, dark and I guess 'edgy' sounding compared to the other huge pop girls' material. Let me remind you that BTW contains songs that were made during the TFM sessions and that TFM is still her best sound qua forward thinking pop while being listenable to the general public. It was the best of both worlds. No one's here for an EDM influenced Gaga. She likes Europe and she always had that nice europop/eurodance sound to her songs, but now she was completely blinded by her fans she met during her tour who probably told her that they like dubstep, drum & bass and EDM garbo. They only want to dance dance DANCE! so we got a whole ****ing album of dance with typical Gaga lyrics and noises except none of them sounds really genuine. Why?
Bad Romance is a clever song. Applause is, imo, also a clever song. The production is what's wrong with the latter. It doesn't make the song 'breath'. Also, it makes the song sound really 'thin'. Bad Romance is the complete opposite. It has huge arena-like stomping bass which marches perfectly in sync with the lyrics while not going too damn fast. I like Applause (maybe even love it), but RedOne would've made it the real second coming of Bad Romance. Just think about that one for a second. Applause produced by RedOne. Lost opportunity imo. Not only that, but to look at it really critically, Applause sounds like a dated drum & bass song with a minor electro-pop twist to it. It would've worked in '07, not now.
One thing that I noticed while I was listening to this album is that she sounds really good during DWUW, Donatella and Fashion! especially Fashion!. From the lyrics to the ad-libs to the minor effects in production to the swag she delivers... it fits her perfectly. I've always dubbed her as fashion pop or theater pop and this is exactly what makes her such a force in the fashion world. When she sings about it, she owns it, because she knows this world. There is no pretention or fake ****ery. She becomes the music and that's why we fell in love with her. She used to ooze confidence through her music. She really wanted us to Just Dance and wonder wtf a disco stick was, because she liked playing a game with pop music and their audience. She was clever AND fun. Now it has just become (semi-)fun.Why should the GP listen to her when there is a Katy or a Riri? She has become one of them. The whole witty Gaga image is played out and everybody is kind of bored.
Don't hate me for saying this, but in all honesty, I think Gaga needs to make an album with will.i.am, Guetta and Daft Punk. She needs real French house like oldschool French house producers. Fashion! reminded me so much of The Fame when she had something special going on with RedOne. Every track they did back then was magic and they still sound good (a bit dated but still). Don't get me wrong, I think the BEP and will.i.am are absolutely terrible, but RedOne is horrible too except with Gaga. Maybe she can create something fresh again, but now with will.i.am as executive producer or something. A few years ago, people would call me a moron for saying something like this, but if you really think about it seeing and hearing todays pop music circumstances, it might actually work.
Quote:
Originally posted by Frozen99
Welcome on ATRL, I guess
Great, good for you
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Member Since: 3/6/2011
Posts: 9,523
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Horrible album. The critics didn't lie.
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Member Since: 7/22/2012
Posts: 6,744
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Quote:
Originally posted by Artemisia
Because her new songs don't match up to the quality I knew her for. How can anyone with a straight face say that any track on ARTPOP is as solid as tracks like Bad Romance, Monster, So Happy I Could Die, Heavy Metal Lover, Scheiße, Bloody Mary, etc.
I mean it's shocking how poor the music on ARTPOP compares to her previous work.
I still like her. Her old work hasn't disappeared. I'm just very disappointed.
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Originally posted by VIRUS
As a Gaga stan since 2009, and one of the few who didn't jump ship during the BTW era, I can honestly say with no bias that this is Gaga's worst album. The biggest problem for me is that she hyped this up so much, going on and on about blending ART and POP blah blah blah, but if the music doesn't add up, all that talk doesn't mean anything. There's nothing ground breaking or experimental on the album. Hell, even "Born This Way" had more experimental tracks than this album, even if they didn't always work. (Bloody Mary, HML, Government Hooker, etc.) It's just very formulaic. The 62/100 score is just right in my opinion. For the next album, I hope Gaga will just keep her mouth shut and let the music speak for itself.
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+1
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Member Since: 1/1/2013
Posts: 13,978
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Dope is good, some of the lyrics are a bit cliche but it doesn't ruin it. Definitely doesn't deserve any of the hate it gets.
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Member Since: 7/22/2010
Posts: 9,145
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Quote:
Originally posted by Glam
I think one of those obsessed monsters needs to dig up old posts. I bet so many people are now turning on ARTPOP because of the reviews
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So true. After praising the album to the high heavens, some are now saying this horrible score was expected.
For Gaga, this score is very bad, not even the critics are here for ha anymore.
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Member Since: 4/3/2011
Posts: 7,281
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People finding a way to stan for BTW while they hate when it came out.
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Member Since: 10/3/2010
Posts: 50,276
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Quote:
Originally posted by Blood Orange Sun
So true. After praising the album to the high heavens, some are now saying this horrible score was expected.
For Gaga, this score is very bad, not even the critics are here for ha anymore.
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Even on first listen I wasn't impressed. After a few days even I remember posting that I wasn't even playing any of the tracks besides the 6 I listed. I still barely play them.
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Member Since: 10/30/2011
Posts: 10,415
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Quote:
Originally posted by FreeBitch
People finding a way to stan for BTW while they hate when it came out.
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!!
When BTW came out everyone was saying "this doesn't have a Paparazzi or a Telephone". Now everyone is like "this doesn't have a Bloody Mary or a The Edge Of Glory"
For album #4 they will be saying "this doesn't have a Donatella, a Gypsy or a G.U.Y."
The girls are so slow that after so many years they still don't realize Gaga's songs are usually growers that stand well the test of time unlike 80% of the pop girls.
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