Lady Gaga's Artpop Is an Attention-Freak's Manifesto

First impressions of the superstar's third album
AP

Lady Gaga’s Artpop hit the Internet on Saturday, more than a week before its Nov. 11 scheduled release. As you can tell from its Jeff Koons-assisted cover, and from the fact that it's a Lady Gaga album, there's a lot going on here. So, while I process, a few early, not-quite-formed thoughts: 

1. With M.I.A.’s Matangi going online a few days earlier, and closely following full-length releases from Katy Perry, Justin Timberlake, and Miley Cyrus, it’s a season of big, superstar-driven pop. But no one makes pop bigger than Lady Gaga does. That’s one reason why she’s worth paying attention to—she draws the upward boundary for how garish, and how polarizing, music aimed straight at the center of culture can get.

2. I had my first of many out-loud laughs listening to Artpop around the one-minute mark, when Gaga follows up her spaghetti-Western opening monologue with laughs of her own and then stretches the syllables of the song title—“AuraaAAAH, auraaAAH”—with Elvira malevolence. It’s so over the top, so campy, so theater-geek dramatic, that you either have to grin or cringe. And then the beat slams in, and that grin/cringe just gets more pronounced. “Aura,” and the rest of Artpop, wants to be the most entertaining music ever made, which is ridiculous. Thankfully, Gaga seems to recognize that it’s ridiculous.

3. The humor here signals a change for her. Born This Way, her divisive previous album, saw Gaga attempting to make music of social importance while repurposing some of the most earnest music of all time—hair metal, ‘80s R&B, German techno, country. Artpop sees Gaga veering back to the straight-up club sounds that made her famous, turning down her heal-the-world pretensions, and having a few jokes on herself. Whereas Born This Way featured a Springsteen-esque anthem rebelling against moms and dads who don't let their kids have edgy haircuts, Artpop takes parental disapproval more in stride: "I know that Mom and Dad think I'm a mess," she sings on "Mary Jane Holland." "But it's all right, because I am rich as piss."

4. The songs are uniformly catchy—tracks like "Venus" seem to pack a dozen separate choruses—the production makes the music sound enormous. But the highs don't match her career bests ("Bad Romance," "Just Dance," "Edge of Glory"), and I miss the crazed diversity of the last record a bit. Among this album’s standouts are the tracks that offer a brief break from pure beats—the “Hey Mickey” aping cheerleading of “Manicure,” the histrionic piano ballad “Dope,” the soft/loud odyssey "Gypsy."

5. Then again, the pure beats here still manage to seem pretty crazed. Gaga and her producers layer these songs deeply, offering body music that can withstand close dissection on headphones. The main motif on “Aura” sounds like it samples an Aphex Twin freakout, and the EDM arrangement on “Swine” groans and hiccups on its way to higher and higher levels of agitation. Fun, weird stuff.

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Spencer Kornhaber is a senior associate editor at The Atlantic, where he edits the Entertainment channel. More

Before coming to The Atlantic, he worked as an editor for AOL's Patch.com and as a staff writer at Village Voice Media's OC Weekly. He has also written for Spin, The AV Club, RollingStone.com, Field & Stream, and The Orange County Register.

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