Los Angeles : Singer Lady Gaga’s “Chromatica”, which was originally meant for an April release, has finally arrived now.
The 16-track album, which got delayed due to COVID-19, mark Gaga’s return to pop seven years after her third studio “Artpop” hit the music world.
“Chromatica” is filled with dance tunes like previously released singles “Stupid love” “Rain on me” with Ariana Grande and “Sour candy” with Blackpink, reports billboard.com.
Her sixth album, “Chromatica,” is an attempt to reclaim a sound she loved from her past while retaining the humanity that was stripped from her as she was objectified and jettisoned to the realm of the hyperfamous.
“Chromatica” is the promised “return to form,” Gaga’s first dance-pop LP in seven years after an album of duets with Tony Bennett in 2014, the stripped-down authenticity play “Joanne” in 2016 and her detour into the world of “A Star Is Born” in 2018. It has some sparkling vocal moments. It reminds us how easily Lady Gaga, 34, can coax the world onto the dance floor.
But it feels overwhelmingly safe — a low bar to clear when you’ve released two of the greatest pop albums of the century (“The Fame Monster” and “Born This Way”) and one of the most audacious, enjoyable hot messes ever (“Artpop”). We were promised jetpacks; we got parachutes.
Lady Gaga herself seems torn over whether over-the-topness is still part of the Lady Gaga proposition. The artwork and graphics associated with “Chromatica” depict her as an alien-esque Stefani and the excess and boldness hark back to “Born This Way.”
But on that album, the music and the images united under an umbrella of fearless ambition. “Artpop” was similarly daring. The songs on “Chromatica,” however, rarely brush up against that kind of uninhibited gutsiness.
The album also features “Sine from above” with Gaga’s longtime friend Elton John. It also features a number of producers, like BloodPop and Tchami, who she’s worked with before, plus Max Martin, Sophie, Justin Tranter and Boyz Noise.
Gaga had earlier said in an interview that she let as many producers work on her album as she could. “Literally nobody cared who put their fingerprints on it, as long as it was the dopest thing that we could give the world and that it was meaningful, authentic and completely me,” she had said.