Lady Gaga took a lot of time away from the road of yellow brick that led to fame: we met with the heartland rock and ballads folk of the soundtrack for A star is born (2018), with the flora country-pop of Joanne (2016) and with the song american always in the encopetada appointment with Tony Bennett for Cheek to cheek (2014). And in the midst of all this, the display of their evils and weaknesses in the documentary Gaga: Five foot two (2017). Total, that is, to deal with the Lady Gaga diva of disco, glittering and self-possessed, you have to go back, at least, until the days of Artpop (2013).
Much appetite accumulated with Chromatica, an album that has seen the light this Friday wrapped in security measures worthy of Nasa (has not been hear pre to the press), and is accompanied by photos that reveal your ego new creature post-apocalyptic (grabbing something like a bat by the tail in one of them: what sign of victory judging on the covid-19?). And well, Lady Gaga resumes the thread of the music disco of previous stages, going back even to the times of The fame (2008), with their frames, electro-pop, and their rhythmic patterns house.
Free zone of ballads
Back to the winter quarters, although looking back without the degree of inventiveness and freshness of a Dua Lipa in its recent Future nostalgia. But there it is again, the Lady Gaga-invasive, the beast that does not give truce on the dance floor becoming cluttered with artifacts of their personal circumstances: overcoming emotional trauma, heals wounds, and management of the fame (I love the paparazzi, I love the popularity / even though you know that makes me suffer, sings in Fun tonight) feed this songbook from the very start, where the distraught Stefani is presented like Alice falling into the hole in search of Wonderland.
In Chromatica there’s not even a ballad, just three curtains orchestral that separate many other blocks with theatricality. And the set is strong in the singles and duets, from the well-known Stupid love, and the Rain on me (shared with Adriana Grande) that Sour candy with one foot in the K-pop courtesy of Blackpink and, in the final stretch, the moment most dizzying: a Sine from above, a roller coaster powered by brushstrokes of Eurobeat, with a graft of drumnbass and voice imperial from Elton John to push into the bust: When I was young, I felt immortal, slides which voice of experience.
Although it is difficult to see in Chromatica songs with the potential of a Bad romance or a Poker face, it retrieves the artist in his most recognizable version. And indebted to Madonna: you hear the chorus of 911 or the sharp echoes voguing of Babylon. The hierarchy is still in place. Jordi Bianciotto
Becoming (Music from the Netflix Original Documentary) ★★★
Young Turks Recordings
This well-played: the new star of african american jazz more ‘soulfu’ puts soundtrack to ‘Becoming’ (here, ‘My story’), the documentary about Michelle Obama. In brief format, at the antipodes of the marathon pieces that have given him fame, Washington serves up a music that puts a background warm, echo, spiritual, tone, majestic and dyes vintage to the profile of Obama that wants to offer the movie. As a soundtrack it works the sea of good. By your account, it is a nice curiosity in the discography of saxophonist. Roger Rock.
High off life ★★★
Epic Records (Sony)
The hiperproductiva legend of the trap of Atlanta retains style and doctrine in their last album. Songs in which it maintains its hedonism and individualism characteristic, but also overcomes the ego in a piece (‘Accepting my flaws’) dedicated to your partner which is so romantic. The numerous collaborations with big names in rap (Drake, Lil Uzi Vert, Young Thug…) look into a disk nestled in the ways of the Future dominant of the last few years. Your reality around the covid-19 is also in the outstanding ‘Solitaires’ (alongside Travis Scott): ‘Diamonds coronavirus’. Ignasi Fortuny
Notes on a conditional form ★★★★
Of effective band emo-pop, The 1975 has gone on to become ambitious machine of modern pop and group able to summarize the joys and shadows of the age of the Internet, in songs as contributing essays as interesting and enjoyable. In this cousin brother night ‘To briefinquiry into online relationships’ (2018), the Matt Healy move between genres (pop guitars to Teenage Fanclub, club music and funk) while going through the landscapes of sentimental labelled, in a prophetic way, by the isolation. Juan Manuel Freire
The conquest of space ★★★★
The title old thread is not out of place before the powers of this argentine as a creator of songs-sighted, with inventiveness and great resources, harmonics, either on the grounds of the epic, the rock or the touch of folklore. Attention to the crescendo taken away to Resuscitate, to cumbia, funky Hey, you! and the vantage point of the album, The song of the beasts, warm and philosophical, wrapped in soft ropes of neoclassical, searching for answers in a world in which all have the reason. J. B.