Everything on The Fame Monster bears a galvanized Eurotrash finish, as evident on the heavy steel synths of “Bad Romance” and the updated ABBA revision “Alejandro,” as it is on the rock & roll ballad “Speechless” - its big guitars lifted from Noel Gallagher - and the wonderful, perverse march “Teeth.” Even the stuttering splices on “Telephone,” a duet with Beyoncé, leans to the other side of the Atlantic, which just emphasizes the otherness that’s become Gaga’s calling card. It’s a nice move for fans, plus it helps emphasize the new material, which does act as a bridge from the debut to a forthcoming full-length. Initially planned solely as a standard double-disc reissue in the wake of the blockbuster success of The Fame, Lady Gaga decided to release the new material as a separate EP called The Fame Monster in addition to the standard two-CD set, where it’s tacked onto a now standardized version of her debut.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |