The Nevada Sagebrush

Gaga unleashes ‘Monster’

Monday, November 30, 2009 - 6:56 PM

Lady Gaga is infamous for doing everything over-the-top, including her eccentric performances involving disco sticks, pantless leotards, bold wigs and of course, the flamboyant personality that I have grown to love. Because of this, it’s no surprise that The Fame Monster, Gaga’s re-release of her hit 2008 album The Fame, includes eight new tracks, unlike other artists who rely on re-releases to score extra revenue. If you thought The Fame was amazing, you are in for a dark and twisted, yet delightful surprise.

Eccentric pop singer Lady Gaga recently released an updated version of her 2008 breakout album, The Fame, entitled The Fame Monster, which includes eight new songs. Photo courtesy of LadyGaga.com.

Unlike its predecessor, which was much more light-hearted and focused on vapid, sticky-sweet subjects such as love, getting drunk in clubs and the lure of fame, The Fame Monster has a much darker tone, but in the best way possible. Much like how Hitchcock used his mysterious, frightening films to explore the darker side of the human psyche, The Fame Monster takes listeners on a ride, showing the more menacing sides of love, sex, fame and addiction.

It is obvious that Gaga put her heart, soul, tears, hell and even perversions into this record. While the album lives up to its name by delving into the inner monsters and demons all human possess, it is still very much a dance-pop album, thanks to the rhythmic, synth-heavy, Euro-pop and industrial-inspired beats and undeniably infectious hooks and choruses.

The first single off the album, “Bad Romance,” is one of the five standout tracks on The Fame Monster, along with “Telephone,” “Monster,” “Alejandro” and her newly announced single, “Speechless.” “Bad Romance,” which was produced by RedOne (“Poker Face,” “Lovegame,” “Just Dance”) exemplifies Lady Gaga in all her pop and glitter glory. The song tells a story of a woman who wants every facet of her lover, even the darkest, most twisted sides. Gaga exclaims, “I want your ugly/I want your disease” and even cleverly alludes to Hitchcock films to explain how she will accept even the most disturbing parts of her lover, stating, “I want your psycho / Your vertigo stick / Want you in my rear window / Baby you’re sick / I want your love.”

“Telephone,” a ridiculously synth- and bass-heavy track featuring Beyonce, is just too over-the-top not to love. With lyrics as absurd as, “Can call all you want / But there’s no one home / And you’re not gonna reach my telephone / Out in the club / I’m sippin’ that bub / You’re not gonna reach my telephone,” it’s no surprise Gaga originally wrote this track for Britney Spears. But the booming vocals and fierceness Gaga and Beyonce bring to this song are what truly bring it to life. We all know Britney’s lifeless singing could never do that.

Gaga spills her heart, literally, in the song “Monster,” which explores her fears of love and heartbreak. She speaks about a player who broke her heart, metaphorically turning him into a zombie-like beast, singing, “He ate my heart / Then he ate my brain / That boy is a monster.” Gaga’s gory lyrics are complemented by an industrial, gothic-inspired beat and a catchy hook, which make the song an awesome dance anthem, as opposed to one that sounds like it’s straight out of “The Addam’s Family.”

Gaga delves into her more international side with the Latin-inspired “Alejandro,” which is filled with booming beats and accented with Spanish strings. The RedOne-produced track, which is about finally getting away from a bad romance, features one of the catchiest choruses off the whole album and is guaranteed to have you singing, “Don’t call my name / Don’t call my name, Alejandro.”

“Speechless,” Gaga’s brand new single, is one of the strongest songs on the album. She bares her heart and soul on this grand scale, stadium-status ballad, along with her undeniable vocal talent and range. While I love Gaga’s techno-inspired songs filled with Auto-Tune and other vocal effects, it’s refreshing to hear this stripped-down song showcase Gaga’s voice, because this girl can sing. Gaga reveals her rarely seen vulnerable side by singing, “And I know that it’s complicated / But I’m a loser in love / So baby raise a glass to mend all the broken hearts / Of all my wrecked up friends / I’ll never talk again / Oh boy you’ve left me speechless.”

It’s official: the amazing piece of pop art that is The Fame Monster has solidified Lady Gaga’s spot as the new reigning princess of pop. Britney Spears who?