Posts Tagged ‘Bionic’

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Lady Gaga – Yoü And I (video review).

August 21, 2011

After the extremely disappointing clip for “The Edge Of Glory”, Lady Gaga is well and truly back on her video A-game with “Yoü And I”. In fact, one might say that there is a little too much going on, what with the appearance of both Joe Calderone (Lady Gaga’s male Italian alter ego), and Yuyi the mermaid. Lady Gaga strolls towards a barn, plays the piano, dances with a horde of clones, is making out with an extremely attractive tattooed man (played by Taylor Kinney from The Vampire Diaries) who is then seen torturing her and performing some sort of scientific experiment on her, is getting married to this same man, is a mermaid, is making out with herself as Joe Calderone, is running through a plantation… Huh? It takes a couple of views to even start sorting out what is going here, and I have no idea how it all pieces together – if you do, please enlighten me. But here are my two cents…

The Gaga that we see playing the piano seems to be the purest incarnation of Gaga in the video… perhaps this is reflective of her innocence? Compared to the bionic Gaga we see returning to Nebraska at the start of the video, Piano Gaga is very stripped down. However, Bionic Gaga is evidently returning to this place to rediscover the love interest she left behind (according to the lyrical content). It’s been a long journey both literally and figuratively – hence her bloody heels. And this area in Nebraska is not a nice place – a creepy ice-cream man, torture scenes and a snapshot of a barn that looks straight out of Texas Chainsaw Massacre do enough to suggest this. Bionic Gaga looks almost funereal… is she back for some sort of revenge on the sexy torturer? The first verse and chorus juxtapose innocent Gaga and Joe Calderone (smoking and drinking up a storm) with Bionic Gaga, to drive home how much must have happened in the interim.

Taylor Kinney’s character appears to be responsible for this. We see a wedding scene, and then snapshots of the experiments (with a struggling Gaga strapped to a bench). Cut to Gaga in a teal wig, dancing with a horde of clones (to a ballad, which in itself is fairly impressive). In trying to improve / redefine Gaga, her lover has diluted her originality and turned her into ‘everyone else’… perhaps some parallels for the state of the music industry and the identikit expectations of female pop artists? Again, I don’t know, but that’s what I’m getting from it. Gaga was innocent and naïve – she found love, but then love tried to change her under the guise of “improvement”. Love is pain, and love is struggle – but the more Gaga struggles, the more she is restrained, to the sound of “Sit back down where you belong…” Love is thus also linked to subjugation (again, apt for the music industry and the roles of managers and labels, perhaps?).

Yuyi appears, sat in a bath and bathed tenderly by the same tattooed torturer. This presumably took place prior to the experiments (as Gaga has a tail here and later, it’s gone). Yuyi, who is reportedly “the reincarnation of Gaga’s birth and artistic spirit”, couldn’t look more blissful to be with the man she loves. (Am I the only one who thinks that the name “Yuyi” is subtle way of saying “You (Yu) & (“y” is Spanish for “and”) I”?) Somewhere along the line, something went wrong, and as Lady Gaga has said in reference to the video, “Sometimes love doesn’t work”. Taylor Kinney tries to have sex with Yuyi, but clearly that’s not going to be successful – although he is quite attractive and I love his tattoo, so I am happy that scene is left in there! Is sexual frustration and sexual gratification the prime motive for trying to change Gaga’s character into a bionic superwoman? Could this apply to both the torturer and the music industry? Does Gaga need sex to sell? (Fast forward to the shot of a post-mermaid Gaga thrusting mechanically on the operating table.) And wasn’t she happier when things were simpler? The kiss she shares with Joe Calderone is much less angst-ridden… I guess that at first, Yuyi and her lover were happy, but as he wanted more that Yuyi couldn’t provide, he ended up ruining her body, their love affair, and Gaga’s individuality. To this end, I suppose that the wedding scene could have been the couple’s original dream (which appears as Yuyi cradles her lover at the end of the video) that never came to fruition – another symbol of this love not working out the way the lovers intended.

Gaga and her dancers in the plantation seem to have much more fun and more free reign over their movements than the Gaga clones in the factory – while the latter are all doing the same routine, whipping their hair and being sexually provocative, the former are just being weird and are not in sync. Perhaps this also represents something… through trying to make someone be the way we want / expect them to be, we homogenise them to a point where they lose their identity and purity? I think that that theory does hold a lot of weight, but I also felt a bit silly / pompous typing that last sentence… after all, this is a music video!

The proliferation of guises that Gaga presents in the video for “Yoü And I” suggests that she has many complex and differing aspects to her personality as a whole, and each of these aspects has its own story and perspective. I guess that as people, we are all multi-faceted, and some parts of each person’s story is beyond anyone else’s comprehension. The Bionic Gaga who has returned to Nebraska doesn’t seem vengeful after all; as she sings to the camera at the end, she seems to have accepted everything that happened to her to make her who she is – after all, there’s no going back now, and we just have to experience everything that happens to us, be strong and independent, and keep walking. And if a music video can be that much of a ride and make one think that much, then it’s got to be a good one.

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top 15 albums of 2010.

January 2, 2011

It’s that time again! Last year my list had 20 albums on it; this year, due I think to the generally deteriorating quality of popular / mainstream music, I have chopped the list down to 15 – if I had 20 albums on it, there were inevitably a couple of albums on the list which had but a handful of good tracks. This does not necessarily make a good album – so for the sake of quality over quantity, this year my list is shorter and sweeter.  Enjoy and comment if you like / dislike / agree / disagree!

15. MonicaStill Standing (check my review here!)

Highlights: Still Standing, Stay Or Go, Love All Over Me, Believing In Me

Skip: If You Were My Man

14. Diddy – Dirty MoneyLast Train To Paris

Highlights: Yeah Yeah You Would, Angels, Hello Good Morning, Coming Home

Skip: Someone To Love Me, Shades, Loving You No More

13. The-DreamLove King

Highlights: F.I.L.A., Abyss, February Love, Florida University, Take Care Of Me, All Black Everything

Skip: Make Up Bag, Sex Intelligent (Remix), Yamaha, Veteran

12. Toni Braxton Pulse (check my review here!)

Highlights: Yesterday, Make My Heart, Hands Tied, Lookin’ At Me, Wardrobe, Why Won’t You Love Me

Skip: If I Have To Wait, Hero

11. Teairra MaríPoint Of No Return mixtape

Highlights: Detroit, Body, Girl Power, Coins, My Lovin’, Holla, Over

Skip: Super High

10. Jazmine SullivanLove Me Back

Highlights: Holding You Down (Goin’ In Circles), Good Enough, Stuttering, Famous, Luv Back

Skip: Don’t Make Me Wait, Redemption

9. Nicki MinajPink Friday

Highlights: I’m The Best, Roman’s Revenge, Save Me, Check It Out, Your Love, Girls Fall Like Dominoes

Skip: Did It On’Em, Fly, Last Chance

8. Janelle Monáe The ArchAndroid (check my review here!)

Highlights: Dance Or Die, Cold War, Tightrope, Oh Maker, Say You’ll Go, BabopbyeYa

Skip: Mushrooms & Roses, Neon Valley Street, Wondaland

7. ShakiraSale el Sol

Highlights: Loca, Antes De Las Seis, Gordita, Lo Que Más, Islands, Tu Boca

Skip: Sale El Sol, Addicted To You, Mariposas

6. CiaraBasic Instinct

Highlights: Ride, Gimmie Dat, Heavy Rotation, You Can Get It

Skip: nothing!

5. Kanye WestMy Beautiful Dark Twisted Fantasy

Highlights: Dark Fantasy, Power, All Of The Lights, Monster, Runaway

Skip: Gorgeous, So Appalled, Hell Of A Life

4. DrakeThank Me Later

Highlights: Fireworks, Over, Up All Night, Fancy, Shut It Down, Unforgettable, Find Your Love

Skip: Show Me A Good Time, Thank Me Now

3. SadeSoldier Of Love

Highlights: Soldier Of Love, Babyfather, In Another Time, Skin, The Safest Place

Skip: Morning Bird, Bring Me Home

2. M.I.A. /\/\ /\ Y /\

Highlights: Steppin’ Up, XXXO, Lovalot, It Takes A Muscle, Tell Me Why, Illygirl

Skip: Teqkilla, Story To Be Told

1. Christina AguileraBionic (check my review here!)

Highlights: Bionic, Woohoo, Elastic Love, Lift Me Up, You Lost Me, Vanity, Bobblehead

Skip: Prima Donna, My Girls, Birds Of Prey

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hypersex.

July 27, 2010

I’ve spent the last 4 weekends away from home with my boyfriend Toby: the first weekend in Peterborough, and the latter three in his new flat in London.  I’ve had a terrific time each time, and it’s a marker of how far I’ve come that now when I am at home in Bristol during the week, life feels empty and, well, a bit lifeless.  I’m finally feeling the love I so desperately longed to feel in the first few months, and I am truly lucky to have found him: I now only fear some unforeseen circumstance or twist of fate breaking us apart and taking this amazing man away from me. But there’s nothing I can do about that, so I just enjoy the times we share together and watch our relationship grow: I have let down my hard-to-get, impenetrable guard and now he sees me as someone who is often vulnerable, sweet and soppy.  During my last two visits, we went to the cinema to watch Eclipse and Inception, and as well as enjoying the films, I cherished the fact that going to the cinema with my boyfriend and cuddling up on the seats, arms linked & heads on each others’ shoulders, was something I thought I’d never get to experience.  It made me feel young, carefree and happy, like the teenager I no longer am but always longed to be.

However, as well as displaying and embracing my softer, romantic side, we also enjoy having sex and often joke that we must be nymphomaniacs.  The sex is the best I’ve ever had, and I am not going to go into specifics because y’all don’t wanna read that and I want to keep that between me and Toby.  But I feel like I finally get to unfurl the wings of my sexuality without embarrassment or shyness.  I have always been a sexual person, and I remember my body being a constant source of fascination as a child (and I mean way before puberty, which I hit early anyway).  As a boy and now a man, I’ve occasionally felt slightly ridiculous for being in touch with myself in a non-macho, non-“I want to fuck everything that moves” way.  I mean, I definitely get horny, but for me my sexuality is less about posturing, racking up notches on a bedpost to prove my virility to others and allay my own insecurities and more about feeling intangibly good in my own skin, exploring what feels / tastes / good and what my body can do to synchronise with my soul and feelings and heighten my experiences as much as possible, and then also sharing that with another person and trying to heighten their experience, someone who knows you and is always uncovering new things about you as you grow together, is a privilege.

As I’ve gotten older, my sense of fashion has grown and evolved as well, and my having tattoos is not only an embodiment of my darker, more dangerous side with personal emblems for me, but also an expression of sexuality. I believe that tattoos are very sensual things (I’m not interested in getting them as a fashion statement per se, and I will never be seen with a tattoo that is “on trend” because it’s “on trend”), and having someone firstly pierce your skin with a needle shows an immense display of trust; to leave a symbol or picture or message on you that has meaning is exhilarating; then to display tattoos, to let someone in on their meaning, to allow someone to touch that part of your body, is a thrill that for me is part of sexuality.  For me, I don’t need or want everyone to see my tattoos all the time (partly because for work I need to exercise some common sense and be able to cover them), but they are for me first and then for my friends and finally for my boyfriend (who likes them nearly as much as I do!).  Just as wearing sexy outfits, fitted clothes (both of which are again decidedly un-macho), certain colours and styles is more an embodiment of who I am at that particular moment, on that day, at that stage in my life and of who I am as a person (the different layers) than displaying labels, belonging to a particular social clique or taking part in a contest to display as much of myself as possible.  For me, sexuality and promiscuity are two extremely different things. I’ve come to the point where I am happy enough with my body to wear more or less what I want (apart from all the outfits I can’t afford!!! but I’m getting there slowly 🙂 ), and in contrast to my attention-seeking performance outfits of the past (leather trenchcoat here, ripped jeans with handcuffs there – though those outfits were definitely fun and I’ve very glad I wore them!), I am less about turning heads (although that’s always nice) and more about satisfying my own standards.  Which are usually higher anyway! But I also appreciate that I want to feel that I look sexy in my clothes: some people are not concerned with that stuff, but I am – call it vanity, call it what you want. The difference is that now, what validates my sexiness is primarily how I myself feel, and secondly what my boyfriend and close friends think and say. I’m more comfortable in my skin to be more about pleasing myself and to know that yes, some people’s opinions do matter and I want to please others too.  But I also know that the general public is not important, and that I shouldn’t feel intimidated or afraid to be who I am. My sexuality, sensuality, fashion sense, looks, physicality and being as a whole may occasionally be compromised by external forces – I’m only human – but I know that it shouldn’t be and I’m better at making sure that it isn’t 90% of the time.  I am learning to be comfortable in myself as a sexual being, a sensual being, and it’s thrilling that I can listen to sexually-themed music (the thought process behind this post was set in motion while I was dancing to “Desnúdate” from Christina Aguilera’s Bionic album, which I still utterly adore) and understand more of it – not because of the meanings of the words (which are translucent), but because my life and my maturity is falling in line with those things.  I’m growing, and I am grateful to my friends, to Toby and to life in general for provoking me and allowing me to do so. 🙂

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Christina Aguilera – Bionic. (album review)

June 14, 2010

As you can tell from my current blog layout, I am very much feeling the imagery of Christina Aguilera’s current Bionic era.  It’s fierce, severe and pushes the envelope.  Artwork such as the front cover (above) and other graffiti-inspired cyborg manipulations handled by D*Face push the envelope and also serve to symbolise Christina as human machine which creates fine music hence “Bionic”.  Various analyses of this robotic imagery could be and have been made: on the one hand, Christina Aguilera in her superhuman form triumphs over all her competitors and makes superior , near-perfect music because she has this bionic element to her; on the other hand, as part-robot, Christina can only ever produce a facsimile of what music is supposed to be, while never quite getting close enough to the organic, human qualities in music that elevate it beyond the calculable – qualities which cannot be quantified or mechanised.  In Bionic, as in life, the truth lies somewhere between these two opinions.

Bionic the album is a long listen – 18 tracks in its standard version, 23 in its deluxe (with iTunes bonus track “Little Dreamer”, a likeable but throwaway confection, making a grand total of 24).  I’ll dispense with the additional 5 bonus tracks first: they are, by and large, bonus tracks for a reason: either they are not strong enough to be considered for the main album (“Monday Morning” is pleasant but lackadaisical; “Birds Of Prey” is lyrically mysterious and interesting, but musically and vocally it’s too much mainstream dance that Kelis would do a lot better with on her current Flesh Tone project), or they don’t fit thematically with the empowering / sexual / carefree / mature feel of the album.  “Bobblehead” is a thrilling production that stutters and races to its climax with the wonderful lyric: “I never play dumb to get what I want / and always come out the one that’s on top”; however, its main hook is a nonsensical mumble that may be the point of the lyrics, dissing idiot girls who dumb themselves down and preferring to deploy her own intelligence, but it’s still a nonsensical mumble which fails to use Christina’s vocals to much effect.  “Stronger Than Ever” is a ballad that is lyrically strong (and embodies my current struggle with my parents) and vocally able, but it just lacks that something.  “I Am (Stripped)” is a lovely album closer but is a more acoustic version of one of the main album tracks, and so it’s understandable why it’s relegated to bonus status.

So, to the main event. To my ear, Bionic moves in three arcs.  In its first, it goes for the jugular with relentless, futuristic uptempos; it then cools down into a sensuous, emotionally vulnerable, mature ballad section; finally, it picks up again for a closing triad of uptempo songs that epitomise fun.  While it’s possible that the album could be trimmed down to make a more concise, compelling listen, it flows very nicely throughout and only has a couple of stumbling points.  Christina Aguilera said that she wanted something which sounded futuristic, but with elements of the organic; something which integrated her new emotional maturity as a mother with her desire to remain playful and sexy.  On this point, she has succeeded: Bionic has elements of all of this.  Tracks such as “Bionic” and “Elastic Love” incorporate computerised effects to distort Christina’s voice, along with buzzing, whirring productions that sonically embody the bionic cyborg face of her album cover. However, on tracks such as standout “You Lost Me” and “All I Need”, Christina is stripped of the musical gloss of the faster tracks to be backed by little more than a piano.  “All I Need” is also a touching, mature tribute to her son, which nicely avoids being mawkish or saccharine like Britney Spears’ unlistenable “My Baby” from Circus.  Finally, sex is all over this album, and from the enticing “Woohoo” to the seductive “Sex For Breakfast” (which I have yet to play for my boyfriend, but when I next see him in July, I am using this song on him!), it’s explicit without being pornographic, edgy without crossing that line.  In this respect, the Christina Aguilera of “Dirrty” is still present, knowing how to be provocative while still being musically relevant.

However, in the video for “Not Myself Tonight”, Xtina makes her return and perhaps pushes the envelope a little too far.  S&M get-ups, Madonna tributes aplenty, and bisexual flirtations are almost par for the course at this point, and Christina Aguilera is more than entitled to use them considering her influence on current female artists in the mainstream over the past 10 years.*  However, although “Not Myself Tonight” is an understandable choice as Bionic‘s lead single considering its radio-friendly sound, it’s not futuristic and it’s not exciting enough to merit the edgy, sex-fuelled imagery.  Rather than hookless, it sounds like a bunch of hooks jostling together for attention over a dance beat (which has a couple of exciting tribal flourishes), the result of which means that sometimes the song sticks, on other listens it doesn’t quite get there.  A better first single might have been the thrilling, soaring title track, or uptempo album standout and follow-up single “Woohoo”, on which Xtina extols the virtues of good oral sex, recruits Nicki Minaj for a fine rap segment, uses her vagina (the titular “Woohoo!”) for a cowbell, and tops it off with a throbbing, buzzing dance break coda for good measure.  Along with “You Lost Me”, “Lift Me Up” and album closer “Vanity”, “Woohoo” is an album standout where all of Christina’s chemical ambitions for Bionic come together perfectly to produce some exemplary pop.

Bionic itself has no bad songs, but there is some filler: “Prima Donna” comes at the end of the first album arc of jugular-ripping uptempos, and is the weakest of them, with little lyrical know-how or production excitement to give it its own identity after the tracks preceding it.  “My Girls” is a ‘riding in the car with your top down’ sort of song, but comes off as fluffy compared to the album’s meatier offerings: although Christina proves (responding to criticisms that she oversings) that she can vocally restrain herself on songs such as “Elastic Love” with its amusing and witty stationery metaphors, and the tender “All I Need”, “My Girls” needs the vocal melisma to give it some spark; as it stands, it’s a little too laid back.  Nevertheless, 2 out of 18 songs (or 15, excluding interludes) is not bad and perhaps a better result than I was expecting.  Sure, several songs on the album are not immediate: “Glam” takes a few listens to hit its stride with its subtle, fibrillating beats and “Vogue”-esque spoken-word verses, while “Vanity” initially startles the listener with its unbridled use of the word “bitch”, references to Christina making herself “wetter” before marrying herself as her “lawfully wedded bitch” and effectively giving the finger to everyone who doesn’t have such bravado.  Only by the song’s end (and possibly a couple of repeat listens) does it sink in that the track is a storming highlight, a perfect album closer, utterly hilarious and ridiculous (and knowingly so), with a vocal flourish that knocks all competition to the floor before her son’s voice confirms all suspicions: his mother really is the shit.

At the end of the day, it’s this kind of confidence that makes Bionic a great success – Christina Aguilera believes that she rules the world, and this kind of ambition almost single-handedly propels her music to heady heights.  It’s a new page for Christina, and she’s secure enough in her ability to try different things: the mélange of styles is a little disorientating until repeated listens expose the subtleties and intricacies in her vocals, lyrics and the songs themselves.  “Lift Me Up” is another beautiful, soaring track that was slightly superior in its stripped down live version performed on the Haiti telethon, but still thrills within the album.  “I Am” is a declaration of humanity, imperfection and adulthood that lends substance to the polished sheen of Bionic‘s robotic side, deployed confidently, efficiently and effectively for example on clubsong “Desnúdate” (which neatly remembers and includes Christina’s Spanish-speaking audience and heritage).  If Christina experiments with textures in her voice, sometimes preferring subdued rumbles to soaring melismas, she still shows that she can do both better than most other female artists.  At the end of the day, Christina Aguilera is an musical artist with a personal and professional vision that she fulfils 85% of the time.  Her misfires are excusable and never in poor taste so much as merely a little bland or inconsistent – in time, Christina will learn to totally excise these from her projects.  Most importantly, while some of Bionic indeed caters to current mainstream tastes and is hardly an obscure sonic revelation, the majority of it is interesting and thrilling, and rings true as Christina Aguilera’s own personality and intention which doesn’t give a fuck about current radio trends (in my opinion, less than half of Bionic would get spins on mainstream radio).  For this, her sales might suffer, but her artistic integrity remains intact and hopefully the mainstream radio audiences and buying public one day will catch up.

* I’ll address this once and only once: anyone who thinks that Christina Aguilera is copying Lady GaGa is a) suffering from memory loss and should go back to Christina Aguilera’s last two album eras which were mired with controversy and blazed with exciting fashions and imagery, b) suffering from hearing loss as Christina can sing GaGa – and pretty much anyone else – under the table, c) has no respect for what Aguilera has achieved over the past 10 years – while GaGa has had a fantastic 2-year run and displays much potential (her music and videos are definitely getting more intriguing), she’s still only been around 2 years and more respect should be shown to anyone who successfully completes a decade in the music industry, and d) completely overlooking Gwen Stefani, whose hairstyle Christina mimics in her “Not Myself Tonight” video, and whose image, sound and career Lady GaGa has borrowed liberally from, mixed with a bunch of fashion designers, and passed off as her own to those too young, too unaware or too amnesiac to know any better.