Unless you’ve been in a cultural coma for the past three months, you’ll know that Lady Gaga‘s relentlessly hyped album, Born This Way is released on Monday (cue two billion ‘little monsters’ collectively jizzing their pants).
Unfortunately, you’re also likely to have already heard most of what the album has to offer, thanks to a tsunami of spoilers which have included catwalk shows, pre-release downloads, full album streams and a particularly dubious tie-in with, er… Farmville.
So with all sense of release-day excitement completely obliterated (well done marketing types), what’s the album actually like?
PRETTY FUCKING AMAZING.
At the risk of sounding like one of Gaga’s paw waving fanatics, almost every track on Born This Way is roughly seven and a half times more interesting than anything heard on her debut album, The Fame (which was by no-means rubbish).
A dance album at heart, Born This Way is dripping with flamboyant excess, incorporating an eclectic and often baffling mix of influences. Expect to hear some amazingly 80′s saxophone, a raved-up mariachi band, a smattering of Gregorian chanting and even a cameo from Mr Anita Dobson.
Remarkably, it all comes together in a cohesive and brilliantly unique way, creating an album stuffed with potential hits that are all unmistakably Gaga. And yes, those bat-shit crazy, pseudo-European accents are BACK!
Early singles, Born This Way and Judas are Lady Gaga at her most traditional and serve as a great introduction to the album. However it’s surprise hit, The Edge of Glory which manages to pack the bigger punch, and is perhaps more representative of her evolved sound.
Government Hooker is a deliciously theatrical slice of electro sleaze, that would definitely be my stripper music if I were to ever become an actual stripper. While Schiße is a balls to the wall techno belter that will have you clamouring to book the next available budget flight to Berlin.
After a slow start, Marry The Night erupts into a euphoric chorus that’s matched only by Hair in its celebratory sense of gay abandon. You and I is the album’s one obligatory piano rock number, that’s thankfully much better here than previously performed by that ghastly girl on American Idol.
Are there any weak tracks? No, not really. Bad Kids and Highway Unicorn don’t connect with me as instantly as the rest of the album. But they’re far from rubbish, and hardcore little monsters are bound to love them unreservedly.
So despite the questionable artwork and her recent dalliances with prosthetic horns, Lady Gaga has managed to produce her strongest body of work to date. An epic album which will undoubtably sell by the bucketload and cement her position as pop’s most fascinating figurehead.
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