Daveportivo's Cultural Evaluation Facility

Dance In The Dark is the next track to be taken from the expanded The Fame Monster LP. Gaga's next album of original materiel is fast becoming the most anticipated pop record of the last ten years, whether you love her or you hate her, there is an undeniable sense of intrigue about all things Gaga. There's a real balance between those who are expecting Gaga to fire out another series of sure fire number ones, and those who are waiting for Gaga to missteps so they can bury her critically. She has managed to muster palpable levels of both good and ill will, and it seems impossible for her forth coming album to meet expectations, a backlash looks inevitable unless she conjures something truly special.

Dance In The Dark is not truly special, it just doesn't feel like a number one, it's not a track where from the first listen you know your listening to a world conquering smash. That said it's a remarkable work, it's without doubt her most complex and intriguing piece to date. Spread out over nearly five minutes the track rides the type of eighties synth line that Muse have been mercilessly exploiting over the last few years. The track is richly textured to the point of being over produced, it has a churning euro-pop beat and is layered with vocal effect and electro flourishes. The whole endeavour is incredibly retrospective and very European but it has a knowing charm. Lyrically Gaga is in full fledge Vogue period Madonna mode, she doesn't hide her influences whatsoever she proudly wears them on her selve for all to see. Offering her own take on Madonna's famous Joe Dimaggio, Marlon Brando breakdown:

The chorus while powered out with great gusto (by Gaga standards) it can't help but feel rather generic, it's certainly capable of catching fire in the same fashion as Just Dance, but it doesn't scream out in the same way the irresistible hooks of Poker Face or Paparazzi did. The tracks real highlight is it's opening line, as Gaga proclaims "Silcone, Saline, Poison, Inject Me Baby, I'm A Free Bitch" it's goofy and sung in true Gaga style but it can't help but feel like the female answers to The Queens Of The Stonage's Feel Good Hit Of The Summer.

All in all, similar to Rihanna's Russian Roulette, Dance In The Dark is a tremendous little pop song, it's heavily indebted and not as thrilling as her big breakthrough singles, but in Dance In The Dark Gaga has forged a subversive hit, it's a grower, it lacks immediacy but it's a track that grows in power with each listen, and it's wide open for some inventive remixes. While it may not be able to hold off the inevitable backlash, Dance In The Dark is further evidence that the hits won't be drying up for Lady Gaga any time soon. You do have to begin to wonder if Gaga can afford to throwaway tracks as strong as Bad Romance and Dance In The Dark on an expanded re-issue then the tracks she must be saving for her second LP proper might be very special indeed.