When the sweaty pulsation of the queer club has disappeared, with no possibility for its return for years to come, Gaga’s Chromatica has brought the club to you.
There may well be intelligent life on Chromatica, but we wouldn’t know, because the planet’s rivers flow with Amyl Nitrate, and it’s hard to hear anything over the relentless bass (where the hell is my m-cat?). If, like me, you became a Gaga fan on the mephedrone-fuelled dancefloor of a provincial club called Flamingos in 2009, then this album’s house and techno-infused tracks will come as a relief.
(And yes, I can say ‘faggot’ here – the last time Gaga released an album this good, I was one!) This record is for the gays. It’s definitely over the top, but it’s also a tight and controlled 45-minute ride of wall-to-wall bangers.Īnd what can be said about the planet ‘Chromatica’, the album’s imaginary setting? If I were summarising it for an intergalactic tourist board, I would probably suggest the alternative name, ‘PLANET FAGGOT’. Chromatica keeps it simple, and succeeds. In 2013’s ARTPOP, Gaga’s use of concept – her invocations of Greek gods, Donatella Versace, and Jeff Koons – was muddled, a tad humourless, and distracted from the music. We are leaving Earth behind – and Gaga wants us to know that this record is a return to the conceptual grandiosity that has defined her contribution to pop. Gaga’s sixth studio album begins with an orchestral prologue that evokes the classical music used to score many of the greatest sci-fi cinema epics set in space. “Take me home, take me to Wonderland,” Lady Gaga beseeches the universe on “ Alice”, the opening song of Chromatica.
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