theboyintheredscarf:

Florence + the Machine | Shake It Off

This is truly, the definition of epic. It really elevates you. 

The secret’s revealed.

Yogurt is so Good… from Andrea Savage

An all-time favorite. “Craggy vagina”

loonachic:

iamcup:

too awesome not to share.

uppitycrackerg:

Today I’m starting my new blog - probably focusing on music - with my thoughts on LG’s track “Scheiße” (Roughly translates from German as “shit”) from her new record Born This Way. The song debuted as a remix for the Mugler fashion show earlier this year.

I think this song is fascinating. Let’s take a look at the lyrics:

I don’t speak German, 
But I can if you like- ow

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Begun be üske but-bair.

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Fräulein uske-be clair. 

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Begun be üske but-bair. 

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Fräulein uske-be clair. 

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Begun be üske but-bair. 
 
Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Fräulein uske-be clair. 

I’ll take you out tonight, 
Say whatever you like. 
Scheiße, scheiße be mine, 
Scheiße, be mine.

Put on a show tonight,
Do whatever you like. 
Scheiße, scheiße be mine, 
Scheiße, be mine.

When I’m on a mission, 
I rebuke my condition. 
If you’re a strong female, 
You don’t need permission. 

I, I wish that I could dance on a single prayer.
I, I wish I could be strong without somebody there.
I, I wish that I could dance on a single prayer.
I, I wish I could be strong without the scheiße, yeah.

(Oh, oh, oh, oh-oh)
Without the scheiße, yeah.
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah. 
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah. 
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah.

(I don’t speak German, 
but I wish I could- ow.)

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Begun be üske but-bair.

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Fräulein uske-be clair.

Love is objectified,
By what men say is right.
Scheiße, scheiße be mine, 
Bull shit, be mine.

Blonde high-heeled feminists
Enlisting femmes for this.
Express your womankind, 
Fight for your right.

When I’m on a mission, 
I rebuke my condition. 
If you’re a strong female, 
You don’t need permission. 

I, I wish that I could dance on a single prayer.
I, I wish I could be strong without somebody there.
I, I wish that I could dance on a single prayer.
I, I wish I could be strong without the scheiße, yeah.

(Oh, oh, oh, oh-oh)
Without the scheiße, yeah.
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah. 
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah. 
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah.

(I don’t speak German,
but I wish I could- ow.)

I, I, I, I, I,
I, I, I, I don’t speak German,
I, I, I, I, I,
But I can if you like. 

I, I, I, I, I,
I, I, I, I don’t speak German,
I, I, I, I, I,
But I can if you like. 

I, I wish that I could dance on a single prayer.
I, I wish I could be strong without permission, yeah.
I, I wish that I could dance on a single prayer.
I, I wish I could be strong without the scheiße, yeah.

(Oh, oh, oh, oh-oh)
Without the scheiße, yeah.
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah. 
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah. 
(Oh, oh, oh, oh-oh)
Without the scheiße, yeah.

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Begun be üske but-bair.

Ich schleiban austa be clair, 
Es kumpent madre monstère, 
Aus-be aus-can-be flaugen, 
Fräulein uske-be clair.

LG starts off by saying “I don’t speak German, but I can if you like” in a faux-German accent. What’s ironic is that what follows isn’t exactly German; rather, you have a mixture of German, Spanish and outright gibberish. I remember before the lyrics leaked everybody was rushing to translate the song, assuming it was all German. At that point, I just assumed Gaga was unintentionally speaking bastardized German and had no idea what she was talking about. Truth is, I think the written lyrics make it fairly obvious that the gibberish is intentional.

Funnier yet, some of the gibberish is even misspelled, were it to be attempted German. Take “schleiban,” for example. She’s trying to replicate a verb, but instead, we get one in the wrong case and with the case spelled wrong (it should be -en and not -an). Furthermore, given her pronunciation, it would have to be spelled “schlieben;” I’m probably the only person though that thinks that there is (assumed) intentionally misspelled gibberish in the liner notes both incredibly clever and hilarious. Other mistakes in the “German” are more obvious- “clair” and “madré,” for example.

Setting aside the German for a moment, let’s turn to the actual English in the song. She proceeds with “When I’m on a mission/I rebuke my condition/If you’re a strong female/You don’t need permission” - a pretty strong sentiment, no? However, she contradicts herself later in the chorus by singing “I wish I could dance on a single prayer/I wish I could be strong without somebody there/I wish I could be strong without the Scheiße, yeah” - she’s “putting on a show tonight,” but truthfully, she feels weak and dependent inside. Later, she sings “Love is conditioned by what men say is right” and “I wish I could be strong without permission;” again, interesting words coming from someone who’s also singing about “[not needing] permission” and possibly suggesting herself as a “strong female.”

But let’s go back to the “German” now; some of the backing vocals include her saying “I don’t speak German, but I wish I could.” That line indicates the connection between the “German” and feminist statements; by speaking a foreign language, Gaga feels she can be a strong woman. However, much like how she feels inside (dependent, frail), she can’t actually speak German; she only wishes she could. I find this metaphor fascinating. 

This is one of my favorite tracks off of Born This Way and I think has high potential as a possible single. What are your thoughts?

Remember checking your Twitterfeed on New Years Eve because you knew Lady Gaga was going to tweet her new single and album release date? I do. I was in Toronto, on my way to being properly sauced at a gay club, and stopped in the middle of the dance floor to see this now memorable photo:

Although we all thought May 23rd would never come, it’s almost here. In fact, it’s here slightly early due to some leakage. The above image, in my opinion, sums up the entire album perfectly - freeing, classic rock, the smell of leather, windy, campy, gay, and ass, in the good and bad sense.

Below is my track-by-track of the standard edition of Born This Way. These 14 tracks have a lot going on; to say Gaga employed kitchen sink-style production would be like saying Britney employed producers who would make her sound like she gave two shits still (I promise to keep the Britney / Femme Fatale jabs to a minimum). Although Gaga’s team of super producers includes everyone from the man responsible for OMGBADROMANCE, RedOne, Fernando “Dance In The Dark” Garibay, and the instantly recognizable production techniques of the ex Mr. Shania Twain Mutt Lange, she still managed to create a cohesive record that tells her story from her humble beginnings as a New York wannabe, to the unstoppable force she is now. With such a diverse team in collaboration with Gaga herself, we have a bombastic collection of songs that require more than three, maybe even more than ten listens to fully digest.

1. Marry The Night 8.5/10

A fantastic electric organ intro sets a brooding tone for the album, which remains throughout the record in most cases. The beat reminds me of Ghosts N Stuff from deadmau5, which is a good thing. This song is also the first to feature a nostalgic 90s vibe, something we’ll start seeing more of in contemporary pop as we drift further away from such a strong decade of music. The best example in this song is the “Come on and run” part, which ends with another chorus repeat and hand claps. Just when the song is about to end, it slams you with a completely new beat. “Marry The Night” is the perfect ‘Intro’ to the set; it says, “Hi, this is the new Lady Gaga album. Are you strapped in? Good.” My one gripe is I wish it ended with the electric organ repeated, rather than cutting off.

2. Born This Way 7.5/10

Ah, the song we’ve learned to love or in some cases loathe. It’s sad that the main thing many remember after many months of looping this song is that it’s an “Express Yourself” rip-off. Yes, there are some melodic elements that are reminiscent but rip-off, it is not. I understand what she was setting out to do with the lyrics in terms of their direct quality, but I do wish they were stronger for such a strong message. Lyrics hurt the song, but the feel-good vibe and impressive vocals save it from being too trite. Was it the wrong single to lead the album? Yes. But I’ll never get sick of that cowbell and clapping ending. 

3. Government Hooker 10/10

This is a beast. Of all these new songs, this may be the most “Gaga” of them - dirty beat, sexual lyrics, interesting production, and unlike anything out there right now. The opera and Gregorian Chanting is absolutely brilliant. Then we hear the sadistic “Back up and turn around” followed commandingly by “Hands on the ground,” all from what you picture to be a 50-something white guy who goes to girls’ basketball games for a good time. The funny thing about this song is that there’s no set chorus; it’s literally hook-hook-hook-bridge-hook-hook-hook. However, the I’m gonna drink my tears tonight segment begs for club play. “Government Hooker” is deceptively sexual and a smart track about citizens being play things. 

4. Judas 8.5/10

Although it hasn’t faired well on the charts, we can thank Judas for one of Lady Gaga’s best videos and some of her best songwriting. I maintain the verses are brilliant lyrically, and the melody (while yes, similar to Bad Romance) is salty and sweet. This could’ve been ruined by the religious analogy, but she incorporates them perfectly. “Judas” has a LOT going on production-wise; every listen tends to reveal a little effect I didn’t notice. This is a fault, unfortunately, because Gaga is sometimes lost underneath it all. The frantic quality works with the subject matter, but the chorus gets lost in between it all. Still, a catchy and worthy addition to her singles. 

5. Americano 9/10

If there is to be an anthem from this record, this is it. “Americano” in its techno-mariachi form was made to be concert showstopper. This will be for Gaga what the “La Isla Bonita” mashup was for Madonna on her Sticky & Sweet tour. For those who didn’t pick it up - If you love me, we can marry on the west coast, on a Wednesday, en el verano in agosto - refers to when Prop 8 was overturned. Clever, no? The whole song feels familiar, as she incorporates traditional Spanish elements (crescendoing trumpets, heavy drums, and perfect pronunciation) we’ve seen in other Spanish pop marriages, into a thundering torch song. Best bit is the end, with the don’t you try to catch me outro. I recommend playing the whole song at full volume in your room and then trying not to dance. Aye!

6. Hair 7/10

This is a 7 now, but it gets better with each listen. The melody and 80s teen move feel is irresistible, but you need to be in the right mood. Previews from music publications said this one was similar to We Belong by Pat Benatar, an iconic representation of 80s pop. The part of “Hair” where the beat drops out is recalls Benatar’s euphoric song. The techno-rock of the second verse is a nice change, and an example of where RedOne’s production tricks actually works. The subtle piano throughout also adds to the “We Belong” similarities, and speaks to the song’s juvenile quality. Anyone notice how her voice is pitched during the bridge? The lyrics at this part are also more childlike. It may not resonate with you now, but ask your 13 year old self who just wanted an invite to hang out with the cool kids, and always feeling like a loser if you weren’t. It’s best not to take the song at face value, and rather explore a deeper as to why this may be the anthem she intended. 

7. Schieße 10/10

Hell. yes. This is what I wanted and expected from this project, in every single way. Remember the Mugler fashion show remix we first received? I feared the final version wouldn’t be as exciting but lo and behold, it’s 10x better. The spoken acapella, faux-German is the perfect lead-in, followed by an unapologetically gay beat and a 70s-style lyric of I’ll take you out tonight, go wherever you like. Sexy, feminist spoken word with a seriously transcendent chorus: I wish that I could dance on a single prayer / I wish I could be strong without somebody there. And what a relatable sentiment, wanting to dance/love without all the Schieße (German for SHIT), wanting to be independent and partnered at the same time. I want this as a single, or something. It’s just amazing, all I can say. 

8. Bloody Mary 9/10

So far, the album has been one throbbing, sledgehammering dance track after another. We get a break in the form of the eerie Bloody Mary. I mean, Gaga and strings? Operatics? Another case where her songwriting truly shines. The Exorcist-style effects, terrifying screams and chanting - brilliant production. I’m not sure who did this one but they deserve all thumbs up. The Thriller-esque breakdown complete with Dum dum da da da’s saves the track from being too scary. If Christians want to get up-in-arms over a song, this fits the bill more so than “Judas.” Gaga’s reading of Mary Magdalene casts her as wise yet ignorant, strong but submissive, and mysterious. Dance dance dance with my hands hands hands above my head like Jesus said pretty much says it all here. We see Gaga taking a risk with this one and she succeeds, with flying, bloody red colors. 

9. Bad Kids 5/10

….and then, there was “Bad Kids.” We get a wicked, punk intro followed by some promising verses. Everything’s going great until you hear what she’s SAYING - I’m a punk, I really should be smacked, I’m a jerk, I’m a twit, etc. I get it, it’s supposed to be juvenile in the way “Hair” is. Unfortunately, I think she falls flat here. I’m calling it the worst track on the album, although we haven’t heard the bonus tracks yet. Even at her worst, the song’s saving grace is its Heart of Glass-like chorus. However, following an act like “Bloody Mary” and leading into the huge “Highway Unicorn” ends up orphaning “Bad Kids.”

10. Highway Unicorn (Road 2 Love) 7/10

More Springsteen throwbacks, followed by a brilliant echo effect on her vocals can only be described as speeding down a glittering highway on the back of a Unicorn. Yes, it’s that gay, complete with a Ride ride pony ride ride line. The intro also serves as the chorus of this song, but sounds better with the beat and a sweeping post chorus about being on the road to love. When Gaga talked about the album being a mix of classic rock melodies and dance production, this had to have been the song she was talking about. Production-wise, there’s a lot going on here and less effects would’ve showcased just how strong the song is. It doesn’t need the bells and whistles. The structure should’ve repeated the chorus one more time before the song ended. Even though the cheese factor is high on this one, you can’t escape the fact that this should be played during the end credits of every 80s fantasty movie ever made. Get your hot rods ready to rumble, cuz we’re gonna drink utnil we die. Gay pride 2011 slogan, anyone?

11. Heavy Metal Lover 9/10

Perhaps the song no one expected much from, mostly because little was revealed about its contents or sound prior to release. I want your whiskey mouth all over my blonde South is unapologetically filthy and genius at once. I can’t make out most of the lyrics, however the “oooh ooh ooh oooh ooh ooh ooh Heavy Metal Lovaaaah” chorus is fantastic and memorable. Also very 90s in its sound, the vocal improvs and robotic effects make the song sound both fresh and familiar at once. This is probably the grimiest track next to “Government Hooker” and improves with every listen. Could easily seeing it being one a favorites as the album adheres more and more to my brain. 

12. Electric Chapel 8.5/10

Electric guitar kicks us off with an organ, and then SMACK: there isn’t a beat quite this hard on the entire album. Her voice is pitched up slightly to give the song a French disco feel. The chorus is complete with a choir and church bells, all behind a hard hitting disco beat. This entire track is reminisicent of Madonna’s Confessions on a Dancefloor era. Gaga references being a ‘holy fool,’ in this one, providing a strong link to the “Judas” lyrics. You may also recognize the title of this song as the church from the “Judas” video. Love her vocals near the end where she wails before a clear moment of choir and bells. This is what worshiping at the altar of Gaga sounds and feels like.

13. You & I 6.5/10

When she played this song live, I honestly didn’t think it would make the album. Based on everything she had said about the inspiration behind the song, “You & I” seemed destined for “Future Love” status. However, the positive reception forced the love song to grow and change with Gaga, and here we see it in its fully fleshed-out form. Guest guitar is from Brian May of Queen and classic rock production from Mutt Lange gives the song a stadium rock feel. In my opinion, the more subdued piano rock version from the Monster Ball works better. The best thing about the song is her clear and powerful vocals. Here, we have some cheesy, shittastic “Somedays!” that were taken right from Shania’s Up! album and plastered on to the pre-chorus. Gaga’s voice should be more up front so one can appreciate exactly how perfect she sounds here. Still, I can’t deny loving to sing along and wailing with her. This will be the biggest song ever made to reference Nebraska, mark my words. 

14. Edge of Glory 9/10

Finally, we reach The Edge of Glory. If we hadn’t heard this song prior to the release, I think its impact would be even bigger. This is the most ‘traditional’ dance pop song she’s ever done. Look past its similarities to My Life Would Suck Without You by Kelly Clarkson and you’ll hear a truly inspiring song. I actually have a theory about how its set up: We start with a muffled hearbeat bass, followed by synths that sound distinctly masculine and feminine. This is the couple (her grandfather / grandmother, or any couple) communicating from another ‘place.’ Then the woman sings the first verse, about them meeting and wanting to go home with him. The second verse is from the man, and we’ve fast forwarded to his final moments on the planet. It isn’t hell if everybody knows my name is probably one of the strongest on the album, and would make an excellent tattoo (I CALLED IT). Then, the all-too cheesy but ever-so endearing sax kicks in followed by soaring synths. This is where the man has reached the edge of glory, the end of his life, and realizes he’s won and ascends to wherever one ascends to when they die. One final anthemic chorus with heartfelt vocal improvs, and finally a bass note that rumbles your entire body, and symbolizes the heart beat flat lining. A distant sax note, and FIN.

So, there you have it. Ask me again post the release of the expanded edition and at the end of the summer when I’ve made each song the soundtrack to my best memories with my friends, and maybe these ratings will change. Nevertheless, we have a brilliant, brilliant pop album here. Those expecting her to release Dark Side of the Moon, Like a Prayer, or Thriller should really have expected less. This is the woman’s second proper release, not counting the .5 that was the (amazing) The Fame Monster. It’s easy to see the progression here, and exciting to know that she’s evolved this much in about 4 years. The fact that the album is so varied and layered means we have plenty of time to digest and discover the intentions behind its creation. I’m excited we live in the times of Lady Gaga; can you even remember what music was like before her? When we didn’t have the ability to use her name as an adjective to describe a certain effect in music? When Bad Romance was a distant spark and we had to go with lord knows what as an example of perfect pop? Or how about when an artist could get away with miming their new single with a headset and a few backup dancers? Born This Way is the snapshot of an artist just beginning to stretch her creative muscles. Time will tell how she uses them, but the strength they possess is undeniable. 

***EDIT*** I’ve amended some of my ratings, and cleaned up the writing style throughout the review. 

lennology:

After the 1989 release of Madonna’s Like A Prayer video, the Catholic church perhaps envisaged they’d never have to face a brazen, bra-toting menace of the proportion of the ironically named 80s queen of controversy herself, boy were they wrong.

Demonstrated in her recent slew of chart topping…

(Warning: this may be a tad cheesy. It needed to come out!)

My friends know me as the Lady Gaga-obsessed, Robyn superfan. As I’ve gotten older, pop music has definitely become something I take pretty seriously from a musical and critical standpoint. Still, it’s the female-singersongwriter who will reign supreme when the disco balls crash and the beat slows. 

The founding mother of my music taste is definitely Tori Amos. Before Tori, I was collecting CDs from artists I loved, singing in the shower, etc. I’m doing that now, but to the Nth degree. With digital media came the replacement of CDs with mp3s. This allowed me to expand my music collection beyond what it would be with my income. 

Back to Tori. I discovered her through the Alanis Morissette channel; it was agreed upon that if you liked Alanis, Tori was the next step. I sampled about 3 songs and wasn’t a fan of any, really. Compared to the accessible rock-pop of Alanis, Tori’s ethereal piano ballads lacked the oomph that drew me to the “louder” female artists like Alanis, Fiona Apple, and Sheryl Crow. 

Turns out, I just didn’t have the right album. I asked the experts where to start: 

“From the basics! Tori + a piano = Little Earthquakes.”

“If you like the rock sound of Alanis, start with From The Choirgirl Hotel!”

“Go for the gold - her best album is easily Boys For Pele!”

In true obsessive fashion, I got them all. Not purchased, mind you, but got them on library loan and some used record shops. One by one, I took them in and finally started to get what the fuss was. On one hand, her music seemed familiar, like I’d heard it my entire youth but never listened. On the other, I’d never heard someone use music the way she did. At the age of 13, I didn’t really understand many of her metaphors. 10 years later, I know every word to every song, including the way she did it live at that one show in Phoenix. 

While my pop gals certainly hold a special place in my heart, Tori has my soul. Yes, that might read as trite shit but it’s true. I don’t ‘feel’ the music like I do with Tori. Even though her latter output has been less than stellar to say the least, even at her worst I hear the woman who was the bridge to other artists like Kate Bush, PJ Harvey, and even Madonna in an odd way. 

Now, word comes that she’s working on her next album - her 11th proper studio release. To look at her back catalogue is to truly be in awe of an individual’s talent. From religion to sexuality to death to the political to the individual, she’s gone everywhere. Who knows where the hell she’ll go this time, but I’m always sitting beside the piano bench. 

So, cheers to you Tori. I have on ‘Josephine’ from To Venus and Back and am taken right back to why I find you so incredibly brilliant - simplistic, intense beauty that makes you feel nostalgic but forward-thinking in one moment. 

If this intrigued you at all, I definitely love making Intro to Tori mixes. Just putting that out there.

johneboy:

rebeccarhey:

nickoleptic:

adaptivity:

cameronchristopher:

defsoc:

scaremeifyoucan:

brilliant.

So, I played with that for about 30 minutes.

this is one of the most wonderful things to exist on the internet, ever.

well, this is bad news for the new “finishing things” goal, isn’t it?

I can’t stop.

NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO I’m done.

In short: 

‘Judas’ is extremely good.

In long:

Imagine a highly evolved, Titanium-plated ‘Bad Romance’ from the year 2511 travelling half a millennium back in time to save music from a tidal wave of ‘in the club’-obsessed pop drivel, and that’s ‘Judas’. We love this song so much. It’s pop in all the right ways, it’s noisy in all the right ways, it’s brash and bombastic and funny and audacious and stupid in all the right ways, and it’s smart in all the right ways, too. 

On the surface it’s a song about being double-crossed (“even after three times he betrays me”), contemplating revenge (“bring him down, I’ll bring him down down, a king with no crown, a king with no crown”), but being repeatedly drawn to awfulness: “I’m just a holy fool but baby oh baby he’s so cruel, but I’m still in love with Judas, baby”. 

Vocally Gaga’s in completely new territory (in the verses and pre-chorus she hurls herself into a decadent half-sung, half-rapped Jamaican Patois style), the chorus is a thousand storeys high, there’s a demented tribal techno breakdown, and the whole thing is a little bit overwhelming for all the right reasons. Importantly, as a turbo-charged electrogothic wrongness anthem ‘Judas’ sounds like a lot of fun - like Gaga had fun writing it and like RedOne had a lot of fun producing it. If Abba ever went to the sort of poppers-‘n’-fisting Mannheim sex club Jake Shears told us about in 2009 ’Judas’ is the sort of song they would have come up with. Maybe this is all good news for those of you who felt that the overstudied carefreeness of ‘Born This Way’ missed its target.

We first heard an early version of ‘Judas’ last May, the same time we heard that early version of ‘Born This Way’ and a handful of other tracks that have made the album, and we last heard the track a couple of weeks ago - not the very final mix, apparently, but we were told there would be no major changes. While the sound of ‘Born This Way’ had changed a lot by the time the single version debuted, the sound of ‘Judas’ has been industrial, thunderous and frantic throughout. 

One of the more recent additions to the song, which has apparently only appeared in the last few weeks, is a middle eight that goes like this: “In the most Biblical sense, I am beyond repentance. ‘Fame hooker’, ‘prostitute wench’, ‘vomits her mind’… But in the cultural sense I just speak in future tense. Judas kiss me if offenced, or wear an ear condom next time.”

You might raise an eyebrow at ‘offenced’ but remember how “WHAYOURBARROWMANCE” didn’t exist until Spring 2009 and these days it’s part of all our lives. What does the ‘Judas’ interlude mean? “It’s pretty east to decode,” Gaga told us when we asked. “In terms of traditional views of what a woman is supposed to be I’m beyond the ability to redeem myself. But I don’t want to redeem myself, because in the cultural sense I believe that I’m just before my time. And if you don’t like it, wear an ear condom.” 


Q&A TIME

What is the BPM?
Somewhere in the region of 130. Yes, you will be dancing to this song. 

Is it actually about Judas out of The Bible or is it pretending to be about Judas when in fact it is about something else?
The first time Lady Gaga played us the tune she told us that in broad terms it was about being in love with the worst guy you’ve ever met, but as you might expect there’s more to it than that. “It’s about leaving your darkness behind in order to come into the light,” she added the other day. “I have a lot of things that have haunted me from my past - choices, men, drug abuse, being afraid to go back to New York, confronting old romances - and Judas represents, for me, something that is bad for me that I can’t escape. I keep going back and forth between the darkness and the light in order to understand who I am.” So, very broadly, the main portion of the song is about Gaga in private and the middle eight is about Gaga in public, two themes that are explored elsewhere on the album too. 

Is it better than ‘Bad Romance’?
It’s too early to say yes but it’s too close to rule it out. 

Does it actually sound like ‘Bad Romance’?
Well, ‘Judas’ is to ‘Bad Romance’ as ‘Bad Romance’ was to ‘Poker Face’. It’s a new experience in familiar territory, like dancing in your favourite club after it’s had a new soundsystem fitted. The nods to ‘Bad Romance’ are deliberate - Gaga told us that while sometimes it’s important to push herself in new directions, as she does  throughout the album, “sometimes I do count my stripes and make sure they’re all there, and ‘Judas’ was one of those records. I wanted it to be an evolution from where I’ve been before but in terms of the formula I wanted there to be something about ‘Judas’ that reminded people of what I’ve done in the past”. So there’s a post-chorus like the ‘Bad Romance’ “whoah-oah-oh” bit (here it’s “whoah-oh-oh-oh-oh-oh-oh I’m in love with Ju-u-das, Ju-u-das”), there are some ra-ra post-chorus hook bits (“Juda-Judas, Juda-Judas, Juda-Judas, Juda-Gaga”) and the song unfolds similarly too: post-chorus, post-chorus hook, song slams in with verse one, then pre-chorus, big explosive chorus out of nowhere, then back down to post-chorus, post-chorus hook and so on. 

Is it better than ‘Born This Way’?
We think it is 2.5x better than ‘Born This Way’. ‘Born This Way’ could/should only have been the lead single from the album, and it does make more sense in the context of other album tracks, but ‘Judas’ is more up our street. It’s a pop song that’s happy being ‘just’ a pop song and it immediately feels more ‘proper Gaga’ - whatever that really means - than ‘Born This Way’. 

Does it sound like any songs by  other notable recording artistes?
No. 

Will some people dislike it?
Yes, and it is important that these people are able to accept that they are wrong. They will need your love and your respect while they come to terms with this difficult truth. Do not pity them, just offer them your help. 

Read more: http://www.popjustice.com/index.php?option=com_content&task=view&id=5381&Itemid=206#ixzz1IxC4JhT3