On her sixth studio album, Lady Gaga delivers a joyous, albeit temporary reprieve from the existing and mercurial realities of a world in crisis, which is profoundly needed right now. Chromatica is a non-stop, full-on dance party replete with 13 club bangers and 3 filmic-sounding instrumental interludes, all of which will transport you to another realm of EDM consciousness. If you’ve been waiting for Gaga to return to the dance floor, then Chromatica will sufficiently fulfill all of your danceable desires as its magical dream-like capriccios will profusely distract you from life’s painful realities. After all, Chromatica is a state of mind, not a physical place. [Read Full Review]
Hello 2020 and hello new possibilities. The beginning of a new year always begins with high anticipation of what’s ahead, and for me the turning of the calendar always brings to mind the promise of new music from favorite artists.
Despite another lackluster Grammy Awards ceremony, the new decade began with a bang as we were treated to the surprise release of a new album by Eminem, the third set of the Pet Shop Boys’ Stuart Price trilogy, as well as a career-spanning 18-disc box set by Depeche Mode.
As for the rest of 2020, my ears are already anxiously awaiting new records from: Garbage, The Killers, Panic! at the Disco, plus the long-awaited new set from Tame Impala. Also, in the works are new offerings from Green Day and Weezer, which will be profligately supported by this summer’s unabashed Hella Mega Tour along with Fall Out Boy.
So, here’s to new songs, new albums, new artists and hopefully, the demise of auto-tune used as a disconcerting crutch.
Did you think Dolly Parton would be the last artist to attempt country disco? Well, think again. Dance-pop diva from down under, Kylie Minogue, returns with her first full-length of all new material since 2014’s R&B leaning Kiss Me Once.
The Aussie chanteuse channels her inner “Cotton-Eyed Joe” on her fourteenth studio album, Golden, but it unfortunately ends up sounding like nothing more than a reductive attempt to create her own version of Lady Gaga’s Joanne. While undeniably endearing and tenacious, Kylie Minogue has always followed trends rather than create them, which has ultimately pigeon-holed the artist as a second-rate Madonna.
On Golden, Minogue dives headfirst into new musical terrain inspired by her recent visit to Nashville. A large part of Golden was recorded during Minogue’s Nashville romp last year and it’s the first time since her endearing 1997 release, Impossible Princess, that the popstress has co-written every one of the album’s tracks. Awkwardly, her stay in Music City seems to have derailed Minogue’s ambitions, resulting in what can only be tactfully described as a major musical misstep. Perhaps Kylie lost focus while imbibing in too much line dancing and honky tonkin’? [Read Full Review Here]
It’s a new year and that means thrilling new musical projects are on the horizon for 2018. The past year gave us quite a few gems including new releases from Tori Amos, Beck, Eminem, The Killers, U2, Guardians of the Galaxy 2’s Awesome Mix Vol. 2 and the first proper solo effort from Liam Gallagher before 2017 ultimately concluding with holiday gifts from Sia, Tom Chaplin and Gwen Stefani.
As we proceed into 2018, we have several exciting items waiting in the wings such as new albums from Florence + the Machine, Father John Misty, Justin Timberlake, MGMT, The 1975 and a new remake of A Star Is Born, containing new music from Lady Gaga. There’s also U2’s highly anticipated Experience + Innocence Tour, so 2018 sounds as if it will be engrossing.
Cheers to a great new year and happy listening to all.
Harry Styles: Harry Styles
What do you do in your spare time while on hiatus from one of the world’s biggest-selling and most successful boy bands? If you’re Harry Styles you use that time wisely by dropping a debut album so commanding that it makes you an instant rock star. If you disregard preconceived notions concerning boy bands, as well as stop trying to decipher if lyrical subtexts may or may not allude to Taylor Swift, you will hear the emerging talent of an undeniably credible solo artist. Harry Styles effectually straddles the line between do-it-yourself production qualities and cock rock.
Harry Styles won’t stop Directioners from wondering if and when the notorious boy band will reunite, but it certainly affirms Styles has the goods to become a major solo star. It’s also utterly refreshing to hear a young artist embrace the use of organic elements such as strings, guitar, and choir instead of opting for the exhausted generic sounding beat-driven production gimmicks currently permeating the musical landscape. [Read Full Review]
Watch the “Sign of the Times” Music Video:
Lady “Stardust” Gaga gave an inspired tribute to David Bowie with a show-stopping performance. With help from her creative team known as Haus of Gaga and alongside the legendary Nile Rodgers who served as musical director, Gaga delivered a glammed-up chameleonic performance as she belted out a medley chock-full of Bowie classics which included: “Space Oddity,” “Changes,” “Ziggy Stardust,” “Suffragette City,” “Rebel Rebel,” “Fashion,” “Fame,” “Under Pressure,” “Let’s Dance” and “Heroes.”
Watch Gaga’s unforgettable homage to her musical hero below:
It’s that time of year again when we find ourselves stretched between the realms of the past, present, and future. But before moving forward, it only seems fitting to consider those brilliantly talented souls we lost in 2015.
Sadly, the music world had to say goodbye to: country singer Lynn Anderson, British pop vocalist Cilla Black, soulful songstress Natalie Cole, gospel singer-songwriter-choir director Andraé Crouch, Grand Ole Opry icon Little Jimmy Dickens, Lesley “It’s My Party” Gore, Motörhead leader Lemmy Kilmister, legendary blues singer/guitarist B.B. King, prominent Nashville producer Billy Sherrill, soul legend Percy Sledge, and the inimitable frontman of Stone Temple Pilots and Velvet Revolver, Scott Weiland, just to name a few. They may be gone, but their momentous musical contributions will be eternal.
Although it’s painful to accept those who are no longer with us, a new year allows us to gleam into the future with great eagerness of what is yet to come. This year promises thrilling new releases from David Bowie (January 8), Panic! at the Disco (January 15), Elton John (February 5), Radiohead, The Cult, Green Day, Lady Gaga, Nine Inch Nails, Katy Perry, Red Hot Chili Peppers, Gwen Stefani, Rooney, and Lucinda Williams.
So here’s to a new year, new music, and making new memories in 2016.
As we say goodbye to 2013 with all too fresh memories of Miley Cyrus’ embarrassing raunch, the aural overkill of Lorde’s “Royals,” and the over saturated blandness of Katy Perry still lingering about, we can only look ahead with hope that 2014 will redeem this year’s failures.
The beginning of a new year always seems exhilarating as it promises a fresh start and a renewed faith that things can only get better. Looking into the not so distant future we can expect new releases from U2, a return to alternative pop from Tori Amos (after her last three classical infused releases), Cher’s final farewell and last hurrah (Dressed to Kill Tour), and after an extended absence from live performing, cerebral shit stirrer Lady Gaga returns to the touring scene with her upcoming artRAVE: The ARTPOP Ball Tour.
Although too much time was wasted during the past few months on less than triumphant spectacles and dashed expectations, 2013 managed to deliver some great musical moments including David Bowie’s return with The Next Day, Justin Timberlake’s The 20/20 Experience, Cher’s first album in 12 years, Closer to the Truth, Eminem’s The Marshall Mathers LP 2, Christian Burns’ Simple Modern Answers, Panic! at the Disco’s Too Weird to Live, Too Rare to Die! and of course Lady Gaga’s heady party record ARTPOP. The year’s end also saw masterfully crafted seasonal offerings by Kelly Clarkson, Erasure, and Leona Lewis, all of which brought 2013 to a fitting and timely end.
With fingers crossed and musical palettes cleansed, let’s close out 2013 by taking a beat to remember how music makes us feel as it permanently finds its way into the soundtrack of our lives. As we prepare to leap forward into a new year, let’s hope our high expectations of better days to come are fulfilled in 2014.
After more than a year of wading knee deep in the hoopla of Lady Gaga’s ARTPOP, the most anticipated album of 2013 has finally arrived. With all the speculation and hyperbole swirling around this release, you may be wondering if Gaga’s endgame was worth the wait. The answer to that question may best be answered by the theatrical pop provocateur herself within her own lyrics “Enigma pop star is fun/It’s not a statement as much as just a move of passion” (“Aura”) and “Lay back and feast as this audio guides you through new and exciting positions” (“G.U.Y.”).
Touted by many as the must have album of 2013, ARTPOP is a multi-genre musical spectrum that boldly infuses EDM, R&B, and rock with joy, rage, and vulnerability. Its true brilliance is discovered only when you fully immerse your mind and ears into the sum of all its parts, which when combined together, take you on a conceptualized journey through Lady Gaga’s world of dance, sex, art, pop, and technology.
Inspired to make the kind of record she’d like to listen to with friends, Gaga’s party opus is raging with mad beats, anthemic choruses, and a phantasmagoric album cover. Although it’s doubtful ARTPOP‘s lyrics will stop global warming or result in world peace, they are cunningly veiled to entice you into contemplating their deeper connotations.
Unpredictably, recurrent collaborator RedOne is only credited here on one track, with the bulk of material composed and co-produced with DJ White Shadow, Madeon, and Zedd. Perhaps RedOne’s input could’ve nixed ARTPOP‘s one and only massive hiccup, “Jewels N’ Drugs” (featuring T.I., Too Short, and Twista). Not only does this bland hip-hop attempt sound like an outtake from The Fame, it also abruptly dampens the album’s vibe and disrupts its otherwise flawless sequential flow, especially as it appears immediately after the dance pop genius of “G.U.Y.” and “Sexxx Dreams,” which sound uncannily like the rebellious teenage love children of Prince and Mariah Carey.
Fortunately, things quickly get back on track with the 1-2-3 punch of the manic “MANiCURE,” which details an obsessive love that can only be sated by a night of hot and lusty sex, followed by the R. Kelly duet “Do What U Want” and climaxing with the transcendent dreaminess of the title track, in which Gaga confesses “The melody that you choose can rescue you.”
During the drug and alcohol penance “Dope” (inspired by the cancellation of the final leg of the Born This Way Ball and originally debuted during her iTunes Festival set as “I Wanna Be With You), Gaga delivers her most honest and vulnerable vocal performance to date while belting out the sparse, emotionally raw ballad, which sounds equally impetuous and remorseful.
Gaga recently described ARTPOP as “reverse Warholian” and “music for music junkies,” which sums up the album quite effectively. With its genre-blurred edges and Spaghetti Western intro, it’s a musically chaotic hodgepodge as unique as the artist herself; edgy, inventive, and multifaceted. Although arguably ostentatious and extreme, there’s no denying ARTPOP is a sexy and seductive, yet quirky slice of pop nirvana that only Lady Gaga could serve up.