Lady Gaga, Chromatica | Album Review 💿

With her sixth studio album, Chromatica, Lady Gaga delivers her best and most enjoyable solo album since Born this Way.

Lady Gaga has had quite a compelling career – understatement.  Her previous solo album, Joanne, arrived in 2016, and marked a stark contrast from the album preceding it (ARTPOP).  After the album’s moderate success, Gaga had a much bigger break – the Academy Award-nominated critical darling, A Star is Born.  A double nominee for Best Actress and Best Original Song, she’d come out victorious with “Shallow”. Now, after nearly four years, she’s back with her sixth studio album, Chromatica, her best in years.

“Chromatica” 

Chromatica commences with “Chromatica I,” the first of three instrumental interludes that appear throughout the album.  “Chromatica I” is stunning; beautifully orchestrated, with the strings serving as key instruments. Skipping ahead a bit, “Chromatica II,” the seventh track, is lush, though darker, set in a minor key, prefacing “911” – makes logical sense. As for “Chromatica III,” it’s characterized by the rhythmic nature of the strings, and a sense of optimism leading into “Sine from Above.”  Interludes only rarely get some buzz.  Furthermore, at least from the listener’s perspective, only rarely are they truly noteworthy.  In this case, all three do a fine job of prefacing what’s to come.

“Chromatica I” prefaces ✓ “Alice,” a fierce ‘start’ to Chromatica. “Alice” embraces dance-pop, with its sleek synths, head-nodding groove, and an infectious chorus.  What makes the chorus specifically even more potent is the reference to Alice in Wonderland, a story that generally everyone is familiar with, hence, it’s relatable.  Besides the production and the latching nature of the songwriting, Gaga brings the vocals, particularly her upper register and falsetto.

“Stupid Love” 

Lady Gaga brings fun and energy on ✓ “Stupid Love”, the promo single from Chromatica.  “Stupid Love” served as the first indication that Gaga was putting her dance-pop shoes back on –a good look. Vocally, she’s assertive, showing off her powerful pipes through the driving, ‘in your face’ production – synths, pummeling drums – and quick tempo.  Her energy shines brightest on the simple, but potent chorus: “I want your stupid love, love / (Oh-oh-oh…).” Love centric, on the verses, Gaga makes it clear she’s found ‘a mighty love,’ so much so that on the second verse she asks, “Could this love protect me from the pain? / I would battle for you (Even if I break in two).” #Dedication.  That said, she “freaks out” on the refrain, prior to the pre-chorus where “All [she] ever wanted was love.” Fair enough! “Stupid Love” is pretty ‘intelligent,’ all in all.

“I’d rather be dry, but at least I’m alive / Rain on me, rain, rain…” Lady Gaga and Ariana Grande join forces on Chromatica’s second single, ✓ “Rain on Me”.  The production is potent from the start, thanks to the services of BloodPop®, BURNS, and Tchami. Both Gaga and Ariana Grande deliver strong, compelling vocals. Gaga asserts herself early on, delivering the first verse, pre-chorus, and chorus with ‘water works’ you might say.

“I never asked for the rainfall
At least I showed up, you showed me nothing at all.”

Grande brings her high-flying, contrasting vocals on the second verse, extending upon the ‘water works’ and most importantly, being honest from an emotional standpoint. “I can feel it on my skin,” she sings, continuing, “Teardrops on my face / Let it wash away my sins.”  She collaborates with Gaga throughout the remainder of the song.  One of the best moments is the bridge, where positivity and uplifting vibes are a huge selling point. “Rain on Me” is a total bop with two awesome artists ‘doing the damn thing!’ #Thank U, Next.

“Free Woman”

How does one follow up a strong trio the likes of “Alice,” “Stupid Love,” and “Rain on Me?” Well, the answer is with “Free Woman,” which is pretty strong in its own right.  Keep those dance shoes on, as Gaga breaks out those house music vibes.  Perhaps more important than the house sound is the message of female empowerment, with some assertive pipes to match:

“I’m not nothing without a steady hand
I’m not nothing unless I know I can
I’m still something if I don’t got a man
I’m a free woman.”

Next, she manages to have “Fun Tonight”: “I feel like I’m in a prison hell / Stick my hands through the steel bars and yell.”  Okay, so she actually is NOT having fun tonight, plagued by negativity despite the exuberant sound of the record, which is set in a major key. “Fun Tonight” is a prime example of schadenfreude at its finest, and in this case, Lady Gaga truly does actively contribute to it.

“911”

Following the superb preface by “Chromatica II,” ✓ “911” boasts one of the set’s most inescapable beats.  The song seems to be a continuation of  Fun Tonight.” Keep in mind, the Grammy-winner was NOT having fun then, and the case is the same here. On the chorus, Gaga asserts, “My biggest enemy is me, pop a 911 / My biggest enemy is me ever since day one.”  With the verses providing some insight, and the chorus summing up the singer’s mental health and such, backtrack to the pre-chorus to hear some sick falsetto.  While the melody is simple on the pre-chorus, it works fabulously.

On “Plastic Doll,” Lady Gaga seems to be seeking love – she’s “spent too long dancing all alone.” That said, she also has a set of expectations for “a real boy” – no Pinocchio! Those rules, which she details on the chorus? She just wants to be treated right – “Don’t play with me / … No, no, no, I’m not your plastic doll.” Again, it’s a catchy song, but also clever.  Of course, ✓ “Sour Candy” garners a fair share of attention thanks to the collaboration with South Korean girl group, BLACKPINK.  Unsurprisingly, the results are positive, given the outlandish nature and artistry of Gaga (still these many years in the game), the personality exhibited by BLACKPINK, the millionth catchy chorus of the album, and more superb production.  Honestly, my man BloodPop® deserves ample credit for the job he does throughout Chromatica. BURNS co-produces with him on this sweet modern, electro-pop banger.

“Enigma”

✓ “Enigma” has the tall task to follow “Sour Candy,” one of the true crowd pleasers from Chromatica.  No worries – Lady Gaga brings the heat! How so? On this house-heavy joint, after exhibiting control on the verses and pre-chorus, she ‘kicks things up a notch’ with powerhouse vocals on the chorus.  Not only do you hear the ‘enigma’ that she’s going to bring to the relationship, you also feel it with her investment and emotions. 

“Replay” doesn’t dare ‘kill the spirit,’ bringing one of the more distinct-sounding cuts from Chromatica.  Notably, the production is attributed solely to BURNS, contrasting many of the collaborative productions that occur throughout.  “Replay” is firmly planted in modern day disco, capturing the energy of the style of old without question.  Like “Enigma,” Gaga brings some totally turned-up, powerhouse vocals. “Replay” is theatrical but theatrical perfectly suits Mother Monster.

“Sine from Above”

Following “Chromatica III,” ✓ “Sine from Above” is easily one of the biggest surprises of Chromatica.  First and foremost, Lady Gaga collaborates with a musical icon – Elton John.  Going into “Sine from Above” seeing John’s name attached, I expected a deeper, slower piano ballad.  The record is the total opposite, continuing its electronic principles, even into John’s guest verse.  Never did I expect to hear the “Philadelphia Freedom” singer in this setting, but one of Chromatica’s most eccentric, unexpected records ranks among its most elites.  The chorus is awesome, while the accelerated tempo and beat switch at the end is nothing short of epic. 

“1000 Doves” has a tough act to follow, but comes out as another respectable, well-rounded record for Lady Gaga.  Here on this thoughtful dance number, she’s looking to be lifted up by love:

“Lift me up, give me a start
‘Cause I’ve been flying with some broken arms
Lift me up, just a small nudge
And I’ll be flying like a thousand doves.”

Besides the chorus, the bridge marks a notable moment. ✓ “Babylon” closes Chromatica with a bang – “ancient-city style.” Sure, “ancient-city style” may not scream bop, but it does in the hands of Lady Gaga. There’s something of a religious experience created. Here, with the help of BURNS & BloodPop®, she references The Bible (“Gossip, babble on / Battle for your life Babylon”), plays on words, and incorporates gospel-style background vocals.

Final Thoughts 

So, how does Chromatica stack up for Lady Gaga? This is easily her best studio album since Born This Way, period. Since then, she’s had her moments mind you, but Chromatica is the best realization of the versatile, dance-pop/electronic artist we’ve come to love in years. While I wouldn’t go so far as to call Chromatica perfect, it’s creative, fun, and all in all, well-rounded.  

✓ Gems: “Alice,” “Stupid Love,” “Rain on Me,” “911,” “Sour Candy,” “Enigma,” “Sine from Above” & “Babylon”

Lady Gaga • Chromatica • Interscope • Release: 5.29.20

Photo Credit: Interscope