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Doctor! Doctor! Lady Gaga is again and he or she’s discovered a remedy! “Disease”, the pop star’s first new solo launch since 2020, lurches out of the darkish to disclose the artist born Stefani Germanotta re-animated, stitches and bolts firmly in place. It’s her greatest in a protracted whereas: a potent dose of dungeon-dark electro-pop.
“Disease” arrives lower than a month after the discharge of Harlequin, the companion album to Todd Phillips’s musical sequel Joker: Folie à Deux, through which she starred reverse Joaquin Phoenix. Widely derided by critics and disenchanted followers, the movie has limped out of public consciousness, whereas Harlequin didn’t fare a lot better. We all know Gaga can maintain her personal on the subject of the Great American Songbook, warbling showtunes with one of the best of them. The drawback was, few of these covers captured the darkish and twisted character she portrays within the movie; most of the preparations had been far too well mannered to sound harmful.
“Disease” has no such reservations. This the primary glimpse of Gaga’s forthcoming seventh album and, if it’s something to go by, the prognosis appears glorious. Ironically, it seems like one thing Gaga may have written whereas capturing Folie à Deux: beneath the clink of chains and crackles of electrical energy beats a warped, fantastical coronary heart.
There are echoes of George Michael’s “Freeek!” within the squelching synth line and the best way she snarls and growls with pleasant abandon. This is maximalist within the excessive and the most recent signal that the pop-culture temperature is rising (suppose Brat, supposeRivals). Restraint be damned; we would like extra, and plenty of it.
“I could play the doctor, I can cure your disease/ If you were a sinner, I could make you believe,” she hollers on the refrain. Sure, it’s no Shakespeare – as with Miley Cyrus’s medically minded Pharrell Williams collaboration “Work It Out”, launched earlier this yr, Gaga goes heavy on the lyrical clichés. But that’s high-quality, significantly when she’s singing by a maze of thudding EDM and techno-heavy beats, grungy guitars and ominous layered harmonies.
With typical dramatic flare, she pares every thing again on the ultimate refrain to desolate piano notes and her diaphanous falsetto, earlier than one other growl and a remaining, rip-roaring salvo. “Disease” is sort of a defibrillator to the chest, jolting us out of our stupor. Welcome again, Mother Monster.
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