music.wikisort.org - Composition

"Sine from Above" is a song by American singer Lady Gaga and English musician Elton John from the former's sixth studio album, Chromatica (2020). It is included as the album's fourteenth track, and is preceded by a string arrangement, "Chromatica III", which leads right into the beginning of the song. It was produced by BloodPop, Burns, Axwell, Liohn and Johannes Klahr, and had a wide array of songwriters involved. It is an electronica-influenced electropop song with a drum n' bass breakdown, and lyrically it talks about the healing power of music.

"Sine from Above"
Song by Lady Gaga and Elton John
from the album Chromatica
Studio	Henson Recording Studios
Genre	Electropop EDM
Length	4:04
Label	Interscope
Songwriter(s)	Axel Hedfors Benjamin Rice Elton John Johannes Klahr Michael Tucker Stefani Germanotta Rami Yacoub Ryan Tedder Sebastian Ingrosso Richard Zastenker Vincent Pontare Salem Al Fakir
Producer(s)	BloodPop Rice Burns Axwell Liohn Klahr Yacoub
Audio video
"Sine from Above" on YouTube

Several music critics found "Sine from Above" a standout track from the album and appreciated its experimental nature, while some others were critical of the breakdown of the song and the use of vocal effects on John's voice. Gaga sang a stripped-down version of the song in a Valentino campaign video, while a remix edit by Chester Lockhart, Mood Killer and Lil Texas appeared on her remix album, Dawn of Chromatica (2021).

Background and recording

"Sine from Above" marks the second studio based collaboration between Gaga and John, following their duet "Hello, Hello", which appeared in the 2011 animated film Gnomeo & Juliet.[1] The duo also performed together on numerous occasions, including the 52nd Annual Grammy Awards, where they performed a medley of Gaga's "Speechless" and John's "Your Song", and the Lady Gaga and the Muppets Holiday Spectacular television special, where they performed "Bennie and the Jets" and "Artpop".[1] Gaga later professionally recorded John's "Your Song" for the 2018 tribute album Revamp.[2]

Gaga and John developed a long-time friendship, and Gaga referred to him as her "mentor for a long time".[1] In an interview with Zane Lowe on Apple Music, Gaga talked about her work with John on "Sine from Above", and explained how he played a significant role in her road to recovery:

Elton's always really challenged me to take care of my artistry and to really take care of myself. And I really, really honour that about him. He is so, so uniquely special. And I cannot tell you how instrumental in my life he's been to showing me that you can go all the way in life and… be authentic and be you and do good things in the world and take care of yourself and be there.[3]

Producer Axwell talked about how the song came about in an interview for Rolling Stone, stating: "I had this old song we worked on, like, seven years ago with Elton John. We tried working on it and we couldn't really get it where we wanted it. It was also kind of hard to get ahold of Elton John. I had this on my computer and was like, 'Wait a minute. Lady Gaga and Elton John are buddies.'" Axwell then sent the demo to Gaga and co-producer BloodPop who loved the track and decided to record it for Gaga's Chromatica album as a collaboration with John.[3] He later added that the song was initially "a more chilled out, piano, acoustic thing. You can still hear that in the verses, and [the final version has] the same chord progression."[4] Talking about the recording of the song, co-producer Burns also explained that Elton was on tour in Australia when they were in the process of finishing the song. As they had a close deadline to finish everything, the recording sessions took place via Skype, with Elton in a studio in Australia and the rest of them in Los Angeles.[4]

Composition

"Sine from Above" is an electronica-influenced electropop track which includes trance synths and a drum-and-bass breakdown at the end of the song.[5][6][7][8] Burns said that the ending was the singer's idea: "Originally, my first version had an 'Amen'-style break beat throughout it, but in the end, we opted for a four-to-the-floor rhythm. At the last minute, Gaga thought there should be some kind of crazy, jarring outro. She mentioned speeding it up, so I figured why not bring back the 'Amen' break, but in classic Jungle form."[4] In an interview with American Songwriter, Gaga said "I wanted this song to have a range, where it began in a very organic, melodic way and then it ended in some sort of cacophony. A cacophony that I'm now comfortable with", claiming it is about resilience.[9] According to the sheet music published on Musicnotes.com, the song is written in the time signature of common time, and is composed in the key of C minor with a tempo of 122 beats per minute. The vocals range from the tonal nodes of B♭₃ to E♭₅.[10]

Lyrically, the song talks about the healing power of music and Gaga's relationship with a higher power.[5][11] Gaga explained the wordplay in the title as a reference to how music was an escape for her when she was in pain.[12] She said: "S-I-N-E, because it's a sound wave. That sound, sine, from above is what healed me to be able to dance my way out of this album... That was later in the recording process that I actually was like, 'And now let me pay tribute to the very thing that has revived me, and that is music."[5] The sine wave also appears on the cover art for Chromatica,[13] and based on its lyrics Billboard considered "Sine from Above" to be "Gaga's mission statement for the album".[14]

"Chromatica III"

"Chromatica III"
Composition by Lady Gaga
from the album Chromatica
Released	May 29, 2020 (2020-05-29)
Length	0:27
Songwriter(s)	Lady Gaga Morgan Kibby
Producer(s)	Gaga Kibby
Audio video
"Chromatica III" on YouTube

"Sine from Above" is one of the three songs on the Chromatica album which are preceded by an orchestral interlude, transitioning directly into the track, as Gaga wanted to emphasize the "cinematic" feeling of the record and felt that it had distinct acts.[4] The preceding interlude, "Chromatica III" was composed by musician Morgan Kibby, who assembled a 26-person orchestra to record the string arrangement.[4] Talking about the creating process, Kibby said:

"Chromatica III" started out as an arrangement under "Sine From Above". When we soloed the strings, BloodPop had the instinct that it should live as a distinct moment, so it became our foundation for "Chromatica III". After we parsed out part of the arrangement we all loved, he and Gaga, I believe, added the sounds of rain. The key piece of "III" for the strings was definitely the long note that sweeps and swells to honor the concept of a sine wave, and I think the additional production serves to highlight that idea.[4]

While reviewing the album, Patrick Gomez of The A.V. Club called the piece an "unexpected highlight", and compared it to a Hans Zimmer score.[15] "Chromatica III" was later featured in the music video for the song "911", playing in the background in a scene which shows Gaga crying after being involved in a car accident.[16]

Canadian singer and producer Grimes was set to remix the interlude for Dawn of Chromatica, as well as "Chromatica I" and "Chromatica II";[17] however, her contributions did not make the final cut.[18]

Critical reception

Nick Smith of musicOMH thought that the collaboration was "rather inspired" and "perhaps the album's highlight".[19] Brittany Spanos from Rolling Stone complimented the production as well as John's vocals saying "John's smooth, deep voice make him a perfect fit, making it sound like he's been gunning to become a disco vocalist for the entirety of his career."[8] Hannah Mylrea from NME called the song "brilliantly bizarre" saying it "is basically what a heady night out at Glastonbury's Shangri La with Elton and Gaga would sound like".[20] Writing for Pitchfork, Katherine St. Asaph found it one of the two strongest songs on the Chromatica album, that "runs on WTF", and described it this way: "Imagine an axis from bizarro transcendence to pure transcendence; 'Sine from Above' is all the way at the left."[21] Jem Aswad Variety thought that Elton gives a "stately vocal performance" as the sole male voice on the otherwise "very female and feminine" album.[22] Vulture, an online blog associated with New York Magazine found "Sine from Above" "as grand a track as Gaga has ever recorded", and highlighted the "frenetic drum-and-bass breakdown that you wish went twice as long".[23] Michael Cragg from The Guardian called the song "ludicrous", and opined that it "would win Eurovision on any given year." He underscored the "unexpected shift into cranium-rattling drum'n'bass, a fleeting taste of experimentation that feels oddly missing elsewhere [on the album]."[24]

Stephen Daw of Billboard thought that the song "feels special", but called the final 30 seconds of the song "confusing" and "unnecessary", and said that "the effects laid over [Elton John's] voice falter as it slips into an uncanny valley."[14] Sal Cinquemani of Slant Magazine thought that "Sine from Above" was the most experimental track on Chromatica with its sudden drum n' bass drop, but opined that it's "a trick Björk pulled off to more dramatic effect on her 2011 single 'Crystalline'."[25] Patrick Gomez from The A.V. Club found the song an "odd inclusion" on the album, saying that "[Elton's] vocals are unfortunately jarring when he comes in on the second verse, and there's something unharmonious about how their voices come together here."[15] Simon K. from Sputnikmusic while complimented the production in the song, thought that the "track which once displayed real potential [is] completely stained by fundamental, asinine errors", and called John's contribution "godawful".[26] Caryn Ganz of The New York Times called it "a shapeless E.D.M. disaster".[27]

Other versions

On September 17, 2020, a stripped-down version of "Sine from Above" was featured in the video campaign for Valentino's Voce Viva fragrance. Gaga appeared in the video singing the song along with a group of models.[28]

For Gaga's third remix album, Dawn of Chromatica (2021), "Sine from Above" was remixed by Chester Lockhart, Mood Killer and Lil Texas. This version features distorted bass, glitched trap, drum & bass, thunder strikes, cartoonish sound samples, a sax solo and finishes with hardstyle music.[29][30][31][32] The remix was described as "dubstep-meets-punk" by Entertainment Weekly.[31] Pitchfork's Jamieson Cox found "a bit of Artpop in its flatulent digital provocation."[33] Writing for Gigwise, Alex Rigotti likened it to "a haunted house on acid" and called it the best track on the Dawn of Chromatica album, saying: "This remix is so expressive, experimental, and ballsy, straining Gaga and Sir Elton John's vocals to the very limit, until it all comes crashing down. It's Gaga like we've never heard her before."[29] Neil Z. Yeung of AllMusic thought it was the "most chaotic remix" on the record with "a crushing breakdown that finally delivers on the surprise drum'n'bass outro of the original."[32] Robin Murray from Clash found it one of the missteps of the album, saying that "the dense effects seem to distort the song, and it’s perhaps a case of too-many-cooks."[34] Alexa Camp of Slant Magazine called the remix "a Frankensteinian abomination that chops up and distorts guest Elton John's vocals, making an even bigger mockery of the legendary musician than the original did."[35]

Credits and personnel

Credits adapted from Tidal.[36]

"Sine from Above"

"Chromatica III"

Charts

References

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