Well, that was an adventure. Normality has returned after my pretentions at becoming a camouflaged civil servant have come to an abrupt halt. The whys and wherefores are best left for another medium, but it does mean that I can now concentrate on vastly more important things; collecting records again.
I’d love to open things up with an uber-cool, rare as you like, underground techno 12” on a limited pressing white label that you’d never recognise, let alone have heard before. However, DMM is about much more than tune spotter elitism. It’s simply about good music.
So what is it about Lady Gaga then? DMM reckons she’s properly awesome. Detractors may write her off as another Madonna, but they’re failing to pick up the delightful veins of irony sparkling through her work. Her persona flirts with the borderline between the serious and ironic so as to leave her audience guessing. Is this genuine or is this all an elaborate ruse?
A more apt parallel would be made by pointing to Marilyn Manson. He sculpted a stage character, an associated vibe and contextualising backdrop, all of which combining to create a product which is more than just the music. Not only this, but both of them seem to be able to push the right buttons in public consciousness at the right time in order to get a raise, though admittedly in very different spheres of influence.
Others claim she’s unoriginal. Certainly, if you listen to a Gaga record, you’ll have heard the elements before. However, much like the KLF, or say Xenomania, she picks and chooses with intelligence, shuffling elements together to create her own work.
As always on DMM, we might be over thinking things a bit. Stripping the analysis away, all we have here are solid synth laden pop tunes with infectious lyrics. Plus, how powerful is that gothic cover photo? In and of its self, this is enough to warrant adding The Fame Monster to the collection.
I’d love to open things up with an uber-cool, rare as you like, underground techno 12” on a limited pressing white label that you’d never recognise, let alone have heard before. However, DMM is about much more than tune spotter elitism. It’s simply about good music.
So what is it about Lady Gaga then? DMM reckons she’s properly awesome. Detractors may write her off as another Madonna, but they’re failing to pick up the delightful veins of irony sparkling through her work. Her persona flirts with the borderline between the serious and ironic so as to leave her audience guessing. Is this genuine or is this all an elaborate ruse?
A more apt parallel would be made by pointing to Marilyn Manson. He sculpted a stage character, an associated vibe and contextualising backdrop, all of which combining to create a product which is more than just the music. Not only this, but both of them seem to be able to push the right buttons in public consciousness at the right time in order to get a raise, though admittedly in very different spheres of influence.
Others claim she’s unoriginal. Certainly, if you listen to a Gaga record, you’ll have heard the elements before. However, much like the KLF, or say Xenomania, she picks and chooses with intelligence, shuffling elements together to create her own work.
As always on DMM, we might be over thinking things a bit. Stripping the analysis away, all we have here are solid synth laden pop tunes with infectious lyrics. Plus, how powerful is that gothic cover photo? In and of its self, this is enough to warrant adding The Fame Monster to the collection.
Lady Gaga - Bad Romance by dcp84
Lady Gaga – The Fame Monster: Bad Romance
[Interscope : B 001382101]
(2009)
Juno: £18.79
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