The incessant hook is there, I love the desperation like she's about to burst out of the track, her accent is once again untraceable and it came and went rather quickly. I'm not even sure how to process what I heard, it was like a whiplash. I think the production is rather batshit, the whole thing is batshit. Best bit on first listen: I still feel the blow, but at least now I know! The pace is a steam train my God. Let me go to bed.
It's the least melodic (in the pop sense) and most left-field song she's put out; it relies on its careening steam train pace and less of a chorus and more of a maddening urgent refrain that's still circling my head after one listen. It doesn't sound like it's going to fit on radio, more like punch a hole right though it. It's going to be completely marmite.
The BVs on the middle eight (and of course THAT KEY CHANGE) are really TEARING ME TO SHREDS / other TRAMELLESQUE METAPHOR (TRAMMY ARE YOU STILL BREATHING)
I'm still SHAKING!!!!!!!! The pain and energy in her voice!!!! It's INSANE. So catchy. IMO much more radio-friendly than Applause.
oh well this is quite nice at least it's a nice break from all the TROPICAL HOUSE POP nonsense everyone's doing and VOX
I've had my second listen on Apple Music and it's properly clicked. Mark Ronson describing her vocals as "wounded" is the best description. She sounds on the verge of tears. The backing vocals having more of a punch in HQ too are define.
I quite like it, and I'll probably like it more later on. And I'll probably hate it by next week. But the bitch REALLY needs to stop with that FUCK AWFUL accent she puts on. "It wasn't LAAAAAH, a PUHFICT EELOOZHAAAAAAA" No Spiceworld similarities though. What a disappointment.
This is going to go OFF live. I'm already head banging to this in HQ; I just need mascara streaming down my face to complete the aesthetic.
It seems very Meatloaf (?!) Consider me on board, but she really needs to tone down her theatre school vox.
Her delivery of "I just want to get you alone" in the first verse gets me. It's pop sadness at its purest.
The ad libs are punching me out. Her howling is chilling in the best possible way. This is everything I didn't know I needed right now.
I've played it like INFINITY times and I am so in love with it. It's exactly what I wanted from Gaga and I didn't even realise it.
Josh Homme of Queens of the Stone Age also contributed to the track. What a list of collaborators she brought together for one song.
I like it, I don't love it. It's very relentless, but not necessarily in a good way, as I don't think there's enough time for each section to breathe. If you threw Pat Benatar, Stevie Knicks and Nile Rodgers into a blender, you'd get this.
