Stagedoor FM

Words by:
Dan Bull
Follow @DanBull7609

First and foremost, let it be made very clear that ARTPOP (which, as we should all know by now, should always be capatalised) was listened through headphones, as per the artist’s instructions.

Secondly, it will also be very clear to anyone who’s heard the endless string of singles already released, that Little Monsters’ yearning for a fix of future-thinking, dancefloor-friendly, sing-a-long-with-Stefani anthems will not be disappointed.

ARTPOP is stronger than The Fame yet lighter – in shade and sound – than the underground European disco theme playing throughout Born this Way. A burst of electronics, colour and creation; it lives up to a pretty risky name that dares to liken itself with an art movement. (And, even more specifically, a Pet Shop Boys greatest hits collection.)
In a sense, the PopArt link is there. Just as Warhol turned a can of soup into art, Gaga isn’t presenting anything completely out of the ordinary. These components of non-conforming pop music were already there in her previous albums (the ode to Paparazzi, for example, or the love song to Judas) and in other artists since. The emphasis is that she knows the method for creating albums as if it were a screen printing process; which layers work where, which colours work together. Of course, it isn’t always perfect, but surely the idea of creating art, or indeed, ARTPOP, is to experiment, learn from mistakes and break rules; whether your own or someone else’s.

Opening with acoustic guitar may leave the listener waiting with baited breath considering Gaga’s attempt at strumming on stage during her – naturally – controversial X Factor performance. (Imagine a primary school recital by a Greek goddess. It makes Madonna’s guitar-playing skills seem in the same league as Slash.) Fortunately, it’s professionally played, and is soon joined by deep, dirty, swirling stabs of synthesizer with distorted vocals in-between. “Do you want to see me naked, lover?” Gaga asks. It’s a pretty tame question compared some of the sexual ideas tossed around in the majority of the tracks, yet by this point – unfortunately for Mother Monster – none if it is even slightly shocking.

From the polished electro of Sexxx Dreams (“When I lay in bed I touch myself and think of you”) to the karma-karma-karma-sutra-esque “guide through new and exciting positions” of G.U.Y. (which stands for Girl Under You, FYI), it’s SEXPOP – or perhaps ARTSEX – and unashamedly so. While the self-produced Venus doesn’t exactly scream obvious-single-choice, there is nothing obvious about Gaga’s release of a new single every week. If it was an attempt to dominate the charts, however, it was unsuccessful, resulting in tracks that were all too quickly overtaken before they could become favourites. What was wrong with the 3-singles, then album release schedule? Nothing.

Of them all, Do What You Want is the stand out; the result of a deliciously repetitive, robotic beat beneath perhaps the most chart-friendly – and least Gaga-like – vocal. While R. Kelly as a guest isn’t an obvious choice, his undeniable vocal works well in this classic pop/R’n’B setting, which isn’t a million miles away from his last major hit, Ignition. The most recently unveiled track (Dope) is the only real ballad on the collection, and stands as a reminder that behind the huge hair, huge production and tiny shell bikini is a songwriter; a singer, a pop artist. “Need you more than dope,” she sings over a stark piano backdrop, which, although at some point in time may have been controversial, is pretty much expected. Although she is clearly an insane genius, there’s the sense that – compared to those who do rely on drugs, and are unable to perform live because of it – Gaga has her head firmly screwed on, with a focus on her career and the music she creates.

The natural (yet unmentioned by either artist) rivalry between Gaga and Katy Perry can be broken down with the title track. While not the most in-your-face moment, it’s endearing chilled-out electronica highlights the difference between ARTPOP and Prism; specifically that, while Perry’s ability at creating four-minute instant chart classics, Gaga’s art lies in these more experimental tracks. It’s already obvious that ARTPOP will be the better live show (despite that X Factor performance).

Again, it’s difficult to know where Gaga will go next, in music or style. The grime of Jewels ‘N’ Drugs (feat. T.I., Too Short & Twista) should only appear on either featured artists album (it’s essentially ARTPOP’s sore thumb) and, while the Scheiße-esque Swine is unorthodox, unusual and unlike anything else you might have heard this year, one of these per album is enough. Even ARTPOP has fillers, but the production (which leaves no space for any sounds in between) is always pushed as far as physically possible. Perhaps that’s where the headphones suggestion came from – one extra sound and the ART may actually POP.

Fittingly, the album ends with an Applause, which you’d imagine is how Gaga would like to end every hour of every day. If this collection serves as a mere snapshot of what’s forever going through her mind, it’s deserved.

ARTPOP is set for release on Monday; hit the iTunes link below to preorder now: