428 days later… Lady Gaga broke her notoriously extended hiatus, premiering her first mastered piece of “new music” since 2009’s The Fame Monster. Those two years of antagonizing anticipation culminated into the club-pulsing climax: the exclusive Thierry Mugler “Scheiße” remix – in a hashtag #discodemonic, in seven words: THIS is why my paws stay pilot. While this may just be a remix, be well aware it is the Wemix 2011 anthem for monsters-turned-zombies: ignite the living dead
Step back from the fact that this is “just a remix,” forget the fact that this may or may not be what you wanted to hear from someone about whom you may or may not give a scheiße – ether that; from start to finish, career and current track, no one – no one female Pop body – can produce: produce, what Gaga can. Line after line, time after time: perfection – the wait is always worth it.
There’s the flawlessly deft production we’ve come to expect from the Haus mother: elemental sounds gone electronic, industrial sounds transgressing and progressing, polar tones ebbing with whimsical white noise, musique concrète flowing with stratospheric synth, deep bass, smooth distortion, uncannily human reverb pulsing the cacophony. Gaga lends her voice as an added layer, as much a part of the score as the bevy of inanimate instruments behind her, ushering in the Eastern European-driven track.
The scene: think industrial revolution meets enveloping evolution. European roots stemming through the streets of New York’s underground. The scape is the sound, it’s black on both sides: literally dark Sith synth hearkening to a “Bad Romance” tone, meeting the cultural couture queens of Harlem’s drag scene. This goes deeper than merely Transatlantic tranny fierce, in terms of Madonna: this goes past Alejandro’s Vogue, and straight into Secret‘s soul. It’s a vamp voyage down the runway River Styx. If you want to bring the 80s back, it’s okay with she that’s where they made she at – and she brings the 80s back Pyrex hard; I see RuPaul in this song, as much as I insert “This is ladies night – do whatever you like,” into the lyrical loop, and “I Got the Power” on sample. It’s dark, it’s disco, it’s inviting, it’s scary, it’s freedom, it’s music, it’s Monsters – it’s you kid! It’s the dream, it’s what couldn’t be done – that’s why it’s the remix: it’s so pastiche it couldn’t come out formally. It’s too dangerous for the debutante – but this is the future of music, and the future of culture as we know it; so taste and see. This is where dictatorship gets flipped, where at the peak of one’s power – they give it back to the public.
Beneath the constant swell of dance propulsion she repeats in a most German-esque tone – “I’m absolutely clear/ As long as I’m a monster/ I wish we all could be blind/ It would be easier out there” – in tandem with the engulfing sounds, so panoramic, and so precise, it is inescapable universal mind control; but right at the brink of Mother Mistress’ Duce dance dictation – just as the hypnotic trance has your mind in the palm of her hand, the beat drops at her feet, the bass lying beneath her sole – she incepts a most dangerous file into the public consciousness: “I’ll take you out tonight, do whatever you like; put on a show tonight, do what you like” – boom; from the Berlin Wall, The Great Disco Dictator has spoken: now put your paws up.
Gaga’s not a fascist – but if that’s what it takes to free you, then so be it. There’s increasingly urgent monotone dictations decried from the mass media altar, hype beyond comprehension, millions of devotees living in the paramount Pop figure’s foreign lyrics, the audience hanging on her every word with an unyielding fanatical fervor needing nothing more than a call-to-serve… she with the intent of getting out a single message to seventy-seven million: do whatever you like – “Just Dance” just got really realer. Literally the propaganda, literally the pulse, literally the panoramic breadth to create whatever she wants – two years later, the Fame Monster wants nothing more than for you to free yourselves and make the world your own black pearl.
Lady Gaga has solidified her sonic aesthetic and social impact – and they are one in the same. This is industrial music, this is the sound of the everymonster building something greater than themselves. This is the remix as the wemix, this is the state of the union’s soundtrack – teamster tunes. This is the Haus repealing the House. This is whatever it takes to bring some sense of community to a fragmented group of displaced anybodies – this is the tagless Facebookers, the ones who won’t show up in your albums because they don’t go to places where cameras are welcome. This is foreign, and now it’s familiar. Who speaks German? Not me – but if we all don’t speak it, then we’re hearing the same thing; and if there is no sight in sound, then we’re blissfully blind; and if the backbeat pulses harder than my own heartbeat, why not dance together? This is cold technology and hot harmonies, sheer energy, factory fashion, raw humanity, grime, graffiti, and glitterbombs; this is stream-of-consciousness that doesn’t make sense now, but will before the rest of the globe makes sense of itself: this is 31st Century schizo world – welcome Haume.
#watchthisspace – it’s only just the beginning; we’re still bracing up backstage, and already she’s pre-gamed harder than your professional pop career with hype music hotter than your world tour