A Note from J.Says: Ideally, I like to have reviews posted within 2 weeks after album release. Sometimes that doesn't happen. In this instance, the writer who requested to do this review reached the deadline and wasn't able to deliver. It didn't feel right to let the moment pass without remarks on this anticipated record, so here I am. My apologies to those who were looking forward to this sooner, and my thanks to you for reading on.--J
 
There was a lot riding on Lady Gaga's 4th solo studio LP. 2013's ARTPOP received such an overall tepid response, that the word "comeback" was hurled around. I myself wrote a borderline scathing critique, feeling that the record was too much of a reversion to Gaga's superficial past. I didn't write this then, but I also thought she sounded uninspired, and I theorized she was forced into putting something out before she was creatively ready (people forget that signed artists are employees). With Joanne, Gaga isn't in the mood to struggle and fit into a former mold of herself, nor be flashy. She seems grounded and as if her confidence and comfort has been renewed. This isn't to imply that she's unrecognizable or that all is lost if you love pre-2016 Gaga; many of her signatures are still there--they've just maturated. If fans are disgruntled about anything, it's that there isn't anything to shimmy to or easily turn into a dance remix for the ages. Ok, you got me, shimmy-factor has been a major component in her music, but there are great trade-offs.The beautiful voice and live instrumentation that was buried underneath a buzzy of effects and commotion on previous albums is finally most prevalent, allowing the listener to really luxuriate in the vintage alternate universe in which Gaga has always resided. For this excursion, 60's and 70's rock (ex. "Just Another Day") are dialed up with a pinch of 50's (ex. "Come to Mama"). If I didn't know better, I'd say "Hey Girl" (featuring Florence Welch of Florence + the Machine) sampled Elton John's "Bennie and the Jets." What was a kind of surprising addition, was the vigorous injection of country and folk, something Gaga had only toyed with before. She bends it  to her theatrical will, and it provides a soundtrack feel. Mark Ronson and Michael "Bloodpop" Tucker join her as primary producers. Ronson's writing is also predominate.
 
Both a reference to Gaga's birth middle name and her late aunt, it's fitting Joanne concentrates on human relationships. Songs like "Diamond Heart" and the sweet, delicate title track have a personal and familial background. Others address romance dynamics (ex. Million Reasons) and how we treat one another. On "Come to Mama," Gaga implies suffering stems from an endless cycle of projecting our individual pain onto others. Reportedly  written about the racially-charged aftermath in the death of teen Trayvon Martin, "Angel Down" speaks to our apathy in the wake of tragedy or injustice. In encouraging unity, she emphasizes sisterhood (ex. "Hey Girl"). Cherishing and giving love while receiving it seems to be the moral of this story. Sentimental, approachable and relevant, Joanne makes a less-ornate and de-shimmied Lady Gaga easy to embrace. 

Album Review. 
Likes: Do What You Want, Swine, Dope
Dislikes: Sex Dreams, Jewels & Drugs
Overall: Reminds me of the mindless “Fame” album; plain didn’t like it

My head hurts. Bearing in mind the great improvement I found Lady Gaga’s last album “Born This Way” to be from her glossy and shallow debut, “The Fame,” I assumed the new “ARTPOP” would be next-level and further my transformation into a sideline ‘little monster’ (as Gaga calls her fans). That didn’t happen. I’m terribly disappointed. My ears interpreted “ARTPOP” as an attempted middle-ground marriage between the2 above-mentioned records and if that’s accurate, the problem is that there was too much “Fame” and not enough “Born This Way.” Gaga gives “Born” in her lyrical conceptualization as there are strong topical and metaphorical themes of the interconnections between celebrity, sex and infatuation using Greek mythology and astrology (among other things). How this premise is implemented is where things get weak and “Fame-like.” The first leg of the album is so sexually hedonistic without any other enriching or stimulating story elements. I could be blind to the bigger picture, but with the exception of some lines, the only message I’m getting is “Let’s give into to our lust (and maybe we’ll fall in love)?” All these metaphors, and yet, everything feels so airheaded. Even Gaga’s statements on her own music and how she’s perceived and treated (ex. “Aura,” “ARTPOP” & “Applause”) seem surface and abbreviated. Ironically, “Do What You Want” ft. R. Kelly is the most frank and telling.

Musically, Gaga kept with the spirit of shadowed, sharp, pulsating, noisy and theatrical (still lots of synths and effects) with 80’s inspirations; it depends on personal taste whether that’s a positive or negative. I loved the floaty, 80’s pop deliciousness groove of “Fashion!” and hated the trap hip-hop of “Jewels & Drugs.” First Miley Cyrus, then Katy Perry and now Gaga have trap beats on their records. What the hell? If trap is the next mainstream wave after techno, I’m going to lose it. I dislike trap for the same reason I’m unmoved by techno; to me, it’s too repetitive and simplistic and lacks instrumental quality. I’m sorry, but nothing beats the feel of drums, piano and/or strings, even if they aren’t live, which brings me to my next point about “ARTPOP.” While I don’t mind Gaga’s usual style of musical production, I think it does a disservice to her vocal abilities. Gaga has a rich tone that she exaggerates and manipulates in entertaining and fascinating ways; it’s as if she creates characters for each of her songs (ex. how she sings the 1st verse of “Applause”). It’s not impossible, but it can be hard to show evidence of the texture, colors and range of your voice on riotous up-tempos, which is why I quite enjoy Gaga when she sits down for tracks like “Dope.” “ARTPOP” has been promoted as an especially artistic, elevating work, but I am underwhelmed. It’s catchy, but the lyrical façade of depth kind of insults my intelligence. “ARTPOP” is pretending. Either that, or I’m just too dull of a crayon to “get it.” Anything’s possible *Kanye shrug.*