Lady Gaga’s Chromatica is a perfect representation of her persona. The 16-track record will take you into different places, perhaps a more profound journey towards Gaga’s mind.
The album starts with “Chromatica 1”, a self-produced track with an emphasis on Gaga’s healing process. The arrangement is a brilliant piece to open such a full album.
Gaga took a peek back in the nineties and applied the house genre on her next song, “Alice”. Perhaps, we can make this track as a personal piece for Gaga, a storytelling device that she uses to express a message, but in the guise of an addictive banger.
Before Chromatica dropped, Gaga released her single “Stupid Love” which is the album’s third track as well. It might not be the most energetic song of the album, but it sure does an excellent job for being a pop single.
Gaga then tandems with Ariana Grande to create “Rain on Me”. The beat is something that you should expect from a dance-pop track. But both artists did well on complimenting each other and is perfect evidence that the song is best to perform with a partner.
“Free Woman” is both a track and a message from Gaga that says she can live and keep going on even without someone by her side. It may have all the pop elements of today’s standards, but something about the structure and instrumentation is nostalgic.
The next track is entitled “Fun Tonight” and is something that stands out among the others. It packs a memorable chorus with powerful pop elements courtesy of Bloodpop and Burns. Honestly, something that would top the pop charts.
Gaga welcomes us with “Chromatica II” which tones down the mood a bit different with it’s a solemn and emotional vibe. Still, quickly switching it up on 911, another pop-infused track spearheaded once again by Bloodpop together with Madeon.
Together with Bloodpop and Skrillex, Gaga created “Plastic Doll” which acts more than a vessel to showcase her vocal prowess.
On the tenth track, Gaga teamed up with South Korea’s hit girl group Blackpink to create “Sour Candy”. All of their vocals fit perfectly with the nineties pop instrumentation, again, produced by Bloodpop and Burns.
“Enigma” and “Replay” almost share the same energy, but the latter seems to have intensified what the former has started. “Replay” is explicitly an unorthodox approach amidst all of these artists relying so much on what’s trending on.
The third and final part of “Chromatica” serves more like an intro to the fourteenth track of the album, “Sine of the Above”. But it does well on wrapping up what Gaga has started.
In “Sine from Above”, Gaga partners up with Elton John to create an explosive track, making it more like listening to different songs at a time. It does stay on its highest quality despite constantly introducing newer elements to the audience.
All of these would wear down as the listeners are greeted by “1000 Doves”, which is nothing much unique compared to what Gaga has already unleashed. But still, the track itself is well produced, especially since Bloodpop is once again involved with it.
“Babylon” is a perfect choice for Gaga to end the album. It does well on being grounded to the whole motif of the song while still trying to do something different. But it’s more than just another nineties house track, because of its lyrics, Gaga was able to elevate the final track of her album to deliver a strong message, and that is her freedom.
It is no doubt that Chromatica will go down as one of pop’s treasured classics. It’s more than just a compilation of tracks, but it is a set of stories that Gaga carefully crafted to showcase her abilities and to deliver a message.
