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When talking about the big musical successes of 2009, it would be impossible to not give a cursory mention to Lady Gaga. With her appealing pop hooks and highly unusual fashion, she has burst onto the scene scoring two number one singles in the UK as well as a multi-platinum album. However, with the release of The Fame Monster, her second album of this year, it appears that she has a few tricks still up her sleeve.
The fact that this has become an album in its own right, rather than a re-issue (something that Lady Gaga has openly criticised), is down to the artist’s own battle against her label. With many artists from Slipknot to Alesha Dixon engaging in such tactics, this is rather refreshing to see.
Where The Fame had a preoccupation with the glorious excess of stardom, Lady Gaga now decides to now reveal fame’s ugly side and display the demons which accompanied her on her rise to the top. Thus The Fame Monster acts as The Fame’s dark sister and marks a further maturation in Lady Gaga’s abilities. It is great to see that while she expands into new unchartered territory she is still able to maintain the sound that has won her millions of fans worldwide.
Opening track ‘Bad Romance’ with its infectious, and downright weird, chants of ‘rah-rah-ah-ah-ah’ and ‘ga-ga-ooh-la-la’ acts as the bridge between The Fame and The Fame Monster by introducing the more sinister elements populating the latter release whilst also possessing similar qualities to earlier tracks such as ‘Poker Face’ and ‘LoveGame’. It made good sense to use this stand-out track as the lead single, slowly easing us into the subtle changes showcased in the new album.
The album’s real highlight, however, is lodged around half-way with an introductory synth-backing that harbours a close resemblance to George Michael’s ‘Careless Whisper’. With lyrics that make open references to tragic female icons, including Sylvia Plath and Marilyn Monroe, ‘Dance in the Dark’ stands as a fantastically structured electro-pop song about the self-destructive behaviour that society forces women to undergo for love and beauty.
The one weakness on an otherwise great album is ‘Speechless’ which ends up as a rather limp ballad that is easily overpowered by the remainder of the tracks. However, while it is true that it lacks the bite she has become known for, it is somehow forgivable; when an album contains such variation as the mad electro-romp of ‘Telephone’, the wistful Ace of Base-inspired ‘Alejandro’ or even the S&M homage of ‘Teeth’, you can begin to truly begin to appreciate the madness.
Whilst simultaneously propelling herself further forward and drawing upon the work of artists past, Lady Gaga’s unbelievably strong sophomore effort acts as a rallying cry that there is a new queen of electro-pop. With the demise of Britney Spears and the flat-lining of Victoria Hesketh (Little Boots), it is great to see someone finally taking up the pop-mantle who is more than willing to lead the way.
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