Lady GaGa is the lovechild of Madonna & Bruce Springsteen on Born This Way

Lady GaGa took over pop music in 2008 –catapulting it into strange and uncharted territory like performance art, outlandish outfits, and actually singing. She brought back the fun of Madonna and coupled it with her own New York City Club Kid aesthetic. Since the debut of The Fame, her pop counterparts; Katy Perry, Rihanna, and Britney Spears, have all tried to get on her level. Hate or love her, GaGa hasn’t apologized for anything she has done. With the release of Born This Way, she is still as unapologetic as ever and it’s continuing to work in her favor.

The album’s opener, “Marry the Night” reveals the record’s agenda: a timeline of GaGa’s life and love. It’s unassuming in its ‘80s drivetime style. It’s actually her most conservative track and to use it as an opener for an album that is supposed to be a landmark, it’s unimpressive.

The title track, “Born This Way” straddles the line between the breakthrough power anthem GaGa wants it to be and the gayest thing you’ve ever heard. I get it –be who you are, not who you’re not. Don’t change yourself to fit any else’s mold; it’s all great. But what came out of that inspiration machine quickly turned into repetitious, only-tolerated-in-the-club, four and a half minutes of over-indulgence. Maybe if she had spent more than ten minutes penning it, it would’ve been more.

“Government Hooker” opens with GaGa’s earnest attempt at something more operatic. The beginning is repetitive but the chorus hits closest to sounding like it could’ve fit on The Fame Monster. It’s the most Gothic, industrial sounding song on Born This Way, as well as the darkest lyrically. Not lacking in controversy however, GaGa speaks, “Put your hands on me/John F. Kennedy” as if it’s been her childhood fantasy. Where the track lacks in lyrical value, it also lacks in anything more interesting than the industrial sounds of “Bad Romance.”

“Judas” is one of the best tracks on the album. Ignoring the Biblical undertones, the song stands on its own as a masterpiece of metaphor. Is it annoying that she still feels the need to remind us that her name is GaGa? Yes, but when that beat drops, it’s an instant reminder of why we care that she is GaGa. The song is the most cohesive lyrically, telling a full story instead of trailing off and becoming something else entirely. Much like “Government Hooker”, “Judas” could have easily been a sibling to “Alejandro” on The Fame Monster.

“Americano” opens similar to Rosemary Clooney’s “Mambo Italiano.” Of course, GaGa puts her dance spin on the track, ushering it in with “la la la’s” and masking the flamenco guitars with a familiar dubstep beat. As flourishing violins battle with flamenco guitars who are in their own battle with a rave bass, this bilingual romp proves that while Gaga is best when she’s stylized, she has the capacity to be even better when she’s over-stylized.

“Hair” is sure to be an anthem, period. Is the first verse horrible? However, the saxophone contributions from Clarence Clemence of The E-Street Band give the song a different effect. The song definitely shows GaGa trying something new –for her aesthetic at least. Surprisingly, the inspiration factor in the chorus works in her favor unlike the chorus in some of the other tracks. The bridge however, sounds like 16 year-old GaGa sticking it to anyone who ever doubted her. If maturity was a serious factor in pop music, she would lose points with this one.

“Scheibe” has GaGa speaking German and honestly –does anyone care what she’s saying? No, because the track takes on a life of its own and is one of her best. It’s definitely a “fashion” song, deemed to be played on runways next Fashion Week. Its Euro-trash dance music at its finest –the constant shooting-siren exemplifies the dance track cliché but GaGa rocks it with her own performance art swag. It’s not a new formula, as “Dance in the Dark” followed the same recipe, but it’s GaGa and we love her for it.

“Bloody Mary” is sweeping before the beat begins. GaGa sings slowly, “I’m gonna d-d-dance with my hands above my head/ Just like Jesus said.” The violins pluck before a suppressed scream brings the song back to life. Lyrically, it is poetry. “We’re not just art for Michelangelo to sculpt” she states before continuing on her journey to get to the heart of what love, beliefs, and life is really about.

“Bad Kids” is the evil twin to “Born This Way.” It should’ve been played during the Disco Bloodbath inspired film Party Monster. It’s back to the floor with this one; a bit Donna Summer with some electric guitar. The relentless declarations, “I’m a bitch” and “I’m a punk” will probably continue to annoy those who already find the Lady annoying, but it’s hard not to adore the chorus.

“Highway Unicorn (Road to Love)” is guilty of two things; a horrible title and sounding like a b-side to the Killers’ Day & Age. With the exception of the over-produced chorus and fuzzy melody, Brandon Flowers could have easily sang this and, to the decree of his band mates, been shut down immediately. Each verse is strong but GaGa loses it at the chorus, where the image of a unicorn does come to mind. Only, instead of it being viewed as something artistic, it comes off cheesy. Lyrically, it’s similar to Bruce Springsteen’s “Born to Run” -2 lovers on some desolate road who would rather die or constantly be on the run than have some sense of security.

“Heavy Metal Lover” is the brute-force cousin of “Teeth.” It’s absolutely filthy, from the beats to the lyrics, “I want your whiskey mouth/All over my blonde south.” Where the song is sexy, with GaGa sounding like she could be Marilyn Manson’s long-lost sister, it gets to be a bit much.

The Pop Queen gets heavy on “Electric Chapel” with the opening riff sounding like any 80s metal band’s chord progression. It’s definitely a stand-out; a dark, forbidden love anthem that could pass as a Blondie jam. If GaGa ever wanted to rock, she definitely worked those demons on this track. The bridge displays her raw, guttural vocals which are a welcomed change from her polished pop persona.

The first time GaGa played “You & I” was on Good Morning, America. She sat at her piano, after rain fell in New York City, and sang just as raw as she was playing. The song allowed everyone to catch their breath after being pummeled with industrial dance beats and heavy bass. The album version however, brought GaGa’s piano soul down to zero as it’s masked with guitar distortions and soft-eighties background vocals. Her narrative about a love that just won’t die quickly turns into a 5-minute recap of her rise to stardom where “You & I” becomes more “Me, Myself, and I.”

“Fashion of His Love” is really GaGa at her most Madonna. The beat is reminiscent of Madonna’s “Open Your Heart” as well as sounding like it would be played in the mall scene in any John Hughes’ film. If it were ’86, Whitney Houston probably would have killed to call this song her own. It’s overly polished, cutesy, and too happy for a woman who notoriously speaks of her “dark period” of substance abuse, broken love, and suffering through life up until now.

“Black Jesus –Amen Fashion” isn’t about what you’d think. Much like “Born This Way” it’s a song about GaGa. It’s her life, born to be a star. Yet another song born to be played on the runway, it’s apparent that she wrote this with her dear friend, Alexander McQueen in mind. Though, 2 minutes in, it gets boring to listen to. If GaGa is fashion and fashion is GaGa, then what’s left? Oh right, Jesus is the new black, who knew?

Honestly, the best track on Born This Way is “The Edge of Glory.” It’s pure, unabashed ‘80s pop –glistening in love and life. The song features another saxophone solo by Clarence Clemence, but where his previous addition brought something new and not-so welcomed, it fits perfectly here. The song is a celebration, and leaving here there, it can be seen as the triumphant finish of a mostly good album, which is a beautiful image.

With trying to turn Jesus into some pop culture, fashion trend, it’s not a perfect pop album. While some tracks can stand on their own as “masterpieces”, GaGa can only go up from here. It’s not a substantial growth, but it’s a growth that will keep her “little Monsters” happy and may draw more people to her shows. What she continues to show is that she has the chops; she has an image, she has a gimmick, she has a presence, but most importantly –she has a voice. **8.8/10

Review: All At Once -The Airborne Toxic Event

In August 2008, the fresh sound of California’s Airborne Toxic Event travelled through radio waves and the hit single “Sometime Around Midnight” was played in heavy rotation on Vh1. The self-titled EP was the band’s first and brought a fresh sound to a heavy hip-hop and electro-pop industry. Each song sounded good, from the summer-ready recollection of singer Mikel Jollet’s first love in “Gasoline” to the sweeping violin in “Sometime Around Midnight.” The band’s edge was Jollet’s relatable lyrics coupled with his melodic yet raw vocals. Everything just worked and, although never fully breaking into the mainstream, the EP showed the band’s potential for something greater. Their newest release, All At Once, is packed with Jollet’s honest lyrics, but fell short with its less-than-upbeat sound.

The record’s lead-off single “Changing” is the band’s only effort to try and break into mainstream radio. The hook is infectious, with Jollet reminding his lady-love that he is “a gentleman” while a simple drum beat holds the song together. Lyrically, “Changing” is Jollet’s only attempt at something happier, with every other song depicting images of broken hearts, lost childhoods, and just all around sadness. Though his lyrics are beautiful and poetic, the listening almost becomes tedious and heavy rather than an all around enjoyable experience.

The track “Welcome to Your Wedding Day” sounds like the worst of what Muse and The Strokes have offered in the past 5 years. On this track, it’s almost as if the band took all the clichés of a harder, indie song and stuffed them into three minutes and forty-four seconds.

Though the album has its obvious mishaps, there are reminders of why this band should matter. A personal favorite is “Half of Something Else” which sonically could be the sibling of “Sometime Around Midnight.” The song is hypnotic, with Jollet and keyboardist/violinist Anna Bulbrook’s voices harmonizing perfectly. The song really hits around the three minute mark, where Jollet shatters all hope of his romance being able to continue with his scream flying above the hard drum-kick and shifty guitar work. “All I Ever Wanted” is the only track featuring Bulbrook’s violin, but relies too much on recognizable “indie” chords and progressions.

All At Once is worth having in any record collection. I wouldn’t regard it as a sophomore slump; it shows growth and a band who has established its own identity. It’s an album that should be celebrated for its lyrical value rather than the way it sounds. Once each member figures out how to marry each element, everything will fall into place. **7.5/10

7:15 P.M.

"Better Man" has been on repeat for the past 15 minutes. I've been on this Pearl Jam thing. Actually anything remotely "grunge." With this said, I'm 90% sure I will be attending Pearl Jam 20 Festival this September. I'm going for The Strokes (like that needed to be said) but Queens of the Stone Age are playing too so it'll be a good time. Plus, I'll get to skip Monday's 8 a.m. lab to sleep in and bask in the up-all-night beer drinking and dancing that is bound to ensue.

In Guilty Pleasure/Reality TV news: Real Housewives of New Jersey starts tonight. Now, as a woman, I am...shall I say...offended(?) that these women act like lunatics but as a person who likes to be entertained -this show is QUEEN! I'll miss that crazy, wannabe Lesbian Danielle Staub though. Her logic, or lack there of, was always a Monday night favorite among my mother and I.

In Music news: There's this dispute going down between Tyler, The Creator and well...everyone, especially Sara Quin of Tegan & Sara. I, in NO way, support homophobic or misogynistic ideals, but I really like Tyler's music.


Of course, as a supporter of the LGBT community and Gay rights, I take offense to the word "fag" and, as a woman, don't think that it should be acceptable for the rap community to constantly refer to women as their "bitches", but should this 20 year-old's rhymes be taken so literally? The rap community has built an empire on homophobic and misogynistic music and, up until now, the majority of people have ignored it because of the beat and presence in the club.

It's not right, obviously, and if the world was perfect none of it would exist. But who said that the meaning of life could be found in the lyrics to "Yonkers" or "AssMilk"? I mean, even the titles of some of the tracks show that it's not to be taken so seriously. I've never been a huge hip-hop enthusiast, but this is how the kid writes, this is how he expresses himself, and if it's not literally hurting anyone, then let him be. If you don't like it - don't listen to it.

Have I deleted some of Tyler's tracks that take it to a repellent level? Of course. So why doesn't everyone else?

Ok, I'm off my soap box. I have nothing else to say. I wish my life was more interesting. Summer has just begun and maybe it won't be so bad.

We all need a fix, I guess I need one, too

This documentary is reminding me just how much I love The Airborne Toxic Event. Their first album was so beautiful and I hope All At Once follows suit. To whoever reads this, expect a review (probably in the next post)



I will be updating blogger more as I dedicate my summer to improving myself both mentally and physically. I've reached my breaking point and I'm not going to let myself fall. I'm too young to be this messed up, honestly.

Anyway, the "renewal" is kicking off with an organic bowel cleanse, followed by buying a bike for my work-out routine. As far as the mental situation, I'm made a plethora of appointments so we'll see where that goes.

ON A LIGHTER NOTE: My Pitchfork tickets are FINALLY purchased. Can't wait to see Twin Shadow, Odd Future, and Deerhunter. I'll be that girl sweating in red lipstick with her camera so find me and say hello if you're attending :)

Livin' Ain't Easy

Sometimes I wish I could blink and be 5 years from now. I'd like to see myself at 24. Hopefully I'd be thinner, smarter, happier, in a relationship, I don't know...something. Unfortunately, I can't do that so I settle for daydreams and talking to myself (not aloud though, that'd be crazy).

In reality, I'm dependent on my iPod and Tazo's Earl Grey Black Tea to get through my day. I've also been really in to Astrology, which is weird since I talk SO MUCH SMACK about people who get zodiac sign tattoos. I still think they're stupid, but Astrology is cool. Is that too trendy? Oh well.

I'm also in love with my 69 year-old Shakespeare professor. Is it a father-figure thing? No. I don't have particular daddy issues so there's no void to be filled. I just think he's hot. He's not bald, he doesn't have a hunchback, he wears coke-bottle glasses, has 2 hearing aids, and has a snake tattoo on his forearm -perfect much? I regret every time I ditched that class, all 4 times.

Side Note: The end of Willy Wonka (the original one) ALWAYS MAKES ME CRY! Gene Wilder is AMAZING in that role. He's the perfect mix of disturbed and innocent.

Anyway, I'm chewing gum Violet Beauregard style but it's ok. My uncle called me Veruca when I was younger -that bastard.

WHY DO I BOTHER TO BLOG!? RAMBLING.

Regardless, I'm stressed (what college student isn't?), I'm failing Calculus (well I have a D- ), and if my English professor insults me one more time I will THROW. DOWN.



...I've missed Blogger. Maybe I think it's more private because no one reads this but I just like the fact that I can type and type and not feel like a super dork because no one has "reblogged"

Angles - The Strokes

This is MY review of Angles -dig it :)

In 2003, Rolling Stone spent all night with the Strokes, as the magazine titled them the “New Kings of Rock & Roll.” The fab-5, with their New York cool and nonchalant demeanor not only stole the hearts of teen girls (and some boys) everywhere, but also brought a breath of fresh air to radio waves that were cluttered with the sounds of over-produced alt-acts such as Creed and Hoobastank. Their second release, Room on Fire, was a straight-forward continuation of what the band were becoming known for and what they excelled at. In 2006, they released First Impressions of Earth, an album that, at the time, was too ambitious even for the boys with so much promise. Now, 5 years later, the Strokes have returned with Angles; an album that is largely being called their “best work since 2001’s debut, Is This It?” With each member now in their 30s, it would make sense for the Strokes to go for a more mature, refined sound, right? Well, not exactly. Angles is approximately 36 minutes of the Strokes at their tightest with their most collaborative songs yet.

The album unfolds with “Machu Picchu” –an electro-guitar gem that has Casablancas admitting that he’s “putting your patience to the test” (the understatement of the year). The song rolls on with a neo-reggae groove that you can’t help but sway to…until the chorus. It hits hard with Hammond and Valensi going toe-to-toe and Moretti hitting the snare with absolute conviction. Coming to the bridge, the guitars sounds like an all-too familiar ‘80s classic, “Got to be Startin’ Something” by Michael Jackson. The overlay vocals only add to the new Strokes’ sound, but it’s a welcomed change. The third and final verse has Casablancas in a higher register, an aspect that trickles down to the rest of the album’s best tracks.

The album’s lead single “Under Cover of Darkness” is next. In a way, it’s a return to form but listening to it doesn’t get old. As Julian asks, “Will you wait for me now?” You can’t help but answer “yes” as the chorus kicks in. Lyrically, it’s the similar relationship complaints that were on the previous Strokes’ albums, “I’m tired of all your friends, listening at your door…” brings up memories of “I can’t get along with all you friends” from “Vision of Division.” It’s a toe-tapping good time that will fit in perfectly at summer festivals. This is the track that reminds us of the Strokes that we fell in love with a decade ago.

UCoD is followed by “Two Kinds of Happiness.” An almost, dare I say…anthem? Casablancas hurls in to the chorus with “Don’t waste your heart” while Valensi and Hammond play in unison. It’s the kind of song that conjures images of the end of a John Hugh’s film. This song definitely puts the spotlight on the new, poppier Strokes that long-time fans may be resistant to –at first listen. The words “Don’t you give in” aren’t really a Casablancas staple, but maybe he himself needed a little beacon of inspiration. What this track brings is a more accessible side to a band that has always seemed “too cool.”

“You’re So Right” gave bassist Nikolai Fraiture a chance to flex his writing skill. It’s fast and rippling, leaving the listener with the choice of either listening again to decipher Julian’s muffled croon or skipping it on the next listen. With that said, the track’s pinnacle is Nick Valensi’s solo - 30 seconds of rapid fire that reminds me a bit of “Juicebox.” Looking at the album as a whole, it’s definitely one track that seems out of place and would feel more at home on Julian’s Phrazes for the Young; which, not only foreshadows the possible direction the Strokes may continue in, but also shows that for a frontman who was never in the same room as the rest of the band, his influence was still felt.

Guitarist Nick Valensi’s second song (his writing debut came in the form of ‘Machu Picchu’), is “Taken for a Fool.” The vocal sounds straight off of Room on Fire, but is that really a bad thing? Clearly, Valensi is longing for the Strokes that were –raw, fast, simple. Moretti’s beat keeps the song alive as the last 40-seconds repeat the chorus’ hook. Personally, I prefer each verse to the chorus, but it has a radio-friendly quality which may make a good, future single.

A dance track is something I would have never expected from the Strokes, but “Games” is a pillowy number in which the best part of the song is Fab Moretti’s drumming. The song seems to be the most-worked song on the album, epitomizing the worst ‘80s new wave and echoing whispers of The Cars. Again, Julian’s solo efforts are felt heavily with the song feeling like the sibling of “11th Dimension.” The song is repetitious, tedious, and doesn’t evoke the same passion as the other tracks. From this point on, “Games” will be referred to as “Album-filler.”

Angles’ lullaby comes next with Julian’s soft croon in “Call Me Back.” The smooth bossa nova vibes remind me of Moretti’s band, Little Joy or something that Devendra Banhart would play. It’s just vocals and guitar with slightly staccato breaks that wake the listener from Julian’s seductive droning. The overlays of incomprehensible whispers add to the dream-like quality of the song. It’s a nice break from the synths and heavy drums.

A wake-up call is brought in the form of “Gratisfaction” –a Thin Lizzy-influenced song that is one of the album’s most memorable tracks. On first listen, it brought back those fuzzy, muffled feelings I got the first time I listened to “Someday.” The background vocals, provided by Hammond and Valensi, actually add to the song’s easy-going vibe. It’s familiar but fits amongst the new electro wave the rest of the album rides.

“Metabolism” sounds like it should fall between “Heart in a Cage” and “Vision of Division” on First Impressions of Earth. The Muse-style structure is as dark as Angles gets. Casablancas almost growls at the end of each phrase, re-entering his lower register and drifting off like the personification of midnight. Lyrically, “Metabolism” takes us back to Julian’s progression of emotions a la “On the Other Side.” Live, the song should definitely strike a chord, as it’s probably the track that drives hardest on the album.

Angles’ farewell is the only track that survived the scrapped Joe Chicarelli sessions. “Life is Simple in the Moonlight” is just that, simple. Valensi’s solo is probably the slowest piece he’s ever done, perfectly complimented by Moretti’s controlled drumming while Hammond’s rhythm sections gives the song a cascading quality. Lyrically, it’s probably the deepest with phrases like “So we talk about ourselves in hell, to forget the love we’ve never felt.” It’s a narrative but maybe one of the Strokes’ most relatable songs. The fades quietly with Julian singing “Don’t try to stop us, get out of our way.” At this point, I don’t think anyone would think of getting in their way.

Angles is really two albums in one. It’s an album that reminds us of that band that so nonchalantly changed the face of what was considered “rock & roll” and it’s an album that strips Casablancas and co. of their sunglasses and leather and shows them attempting to find something new. If Strokes IV is in the works, I hope it comes soon. Angles is a solid return, but it’s not their best. They have an album in them that’s better than Is This It?, they just have to trust each other first. **8.9/10

Up on a hill, is where we begin

I've been having a full-on affair with Tumblr lately. Why? -people actually follow me/like what I have to say. I still love Blogger though, it's more blog-esque. Tumblr just allows people who obsess over the same thing to reblog and drool together instead of alone, pathetically.

ANYWAYS, a lot has happened since I've posted last. I've gotten another tattoo, I've lost 5 pounds, I've been craving a cigarette, I only cuff my jeans, Radiohead released The King of Limbs (it's obviously fantastic), and I treat my leather jacket as if it's my child.

In other news, the Strokes played SNL and Miley Cyrus is still a talentless child. Back to The Strokes -I'm nervous. Angles is...almost here. I'm EXCITED but apprehensive. Pitchfork posted this CRAZY-ASS ARTICLE that encompasses all 10 years of the Strokes, yet it left me feeling less than optimistic about my favorite's future. I could tell from the NME article that Julian only kinda likes Angles and that Nick was pissed off that Jules wasn't really around. Then, Pitchfork reporter Jonathon Garrett is describing how Julian is answering each question, including the "long pauses" and "hesitations" followed by a cornucopia of ellipses. Should there even be a 5th Strokes album or should we all just revel in what used to be? I'm torn. AND FOR THE RECORD- the happy-go-lucky videos the Strokes' website has been posting about the "Making of Angles" are SERIOUSLY MISGUIDING!

Anyways, I also have a new adoration for Adele. 21 > 19, in my opinion. She's a BAMF. Can we please that acronym back? It was so much fun.

later, BAMFs