A few years ago, you could take a walk down to Bleecker Street and catch a show at a small venue called The Bitter End featuring back to back performances from two of Manhattan’s most up-and-coming artists: Stefani Germanotta and Lelia Broussard.

One would ultimately ask Cher to hold her meat purse and get blasted by Bette Midler for coming out on stage dressed as a mermaid in a wheelchair, while the other would be a final contender to be the first unsigned artist to grace the cover of Rolling Stone magazine.

On August 2nd, Rolling Stone will announce which unsigned artist will be the first to make the magazine’s cover – and the contest has narrowed its way down to two finalists. Will alt-rock quartet The Sheepdogs win or will the quirky Lelia flash her signature facial-warpaint on the most esteemed music journal in the biz?

If anyone is close to stealing Florence Welch’s crown as queen of the indie chanteuses, it’s Lelia Broussard. Ever since her most recent album, Masquerade, came out in November of last year, Lelia has exploded onto the scene. No, really. I challenge you to find a coffee shop, book store, or Forever 21 that doesn’t have her song “Satellite” (written about “a sad robot in love”) on constant loop.

On August 24th, Lelia will be performing a very special one-stop show at the Highline Ballroom in New York. I caught up with Lelia to talk about what to expect from the show, how the Rolling Stone contest has impacted her life, which one of the Spice Girls she most identifies with, and more.

If you win the Rolling Stone competition, what would your ideal cover look like? Any specific photo-shoot themes or photographers you’re envisioning working with?

I can’t give it away! But I like the classic looking covers they do.

What has been the most rewarding part of being involved in this Rolling Stone competition? What has been the biggest change since it launched?

Playing Bonnaroo was really incredible. Biggest change is my new DIVA attitude … just kidding.

You wrote your first song about your orthodontist when you were very young. Why was he so terrible that it birthed this form of self-expression in you?

He told me boys wouldn’t want to look at me if I got my braces off a few months early. Quite the douche.

Tell me about the hipster bitch who inspired “Hipster Bitch”?

Haha! She’s actually a really cool lady. But I met her in a not so fun situation for me.

You’ve become known for wearing lots of eclectic face paint during your shows. What does the face paint represent to you and why has it become such a trademark part of your live sets?

My album is called Masquerade and I wanted to sort of create a visual element to go along with that. I also love David Bowie and glam rock, so it’s definitely partly inspired by that.

What’s the most bizarre gift a fan has ever given you?

Assorted screws, nuts, bolts, and a smelly T-shirt. No joke.

As an unsigned artist, what do you think the benefits of not being tied down to a major record label are? What are the downsides?

There are a whole lot of options for independent artists now. I’ve been doing it myself for quite awhile. It’s nice to have total control of everything you’re doing. But the downside is not having enough money. Also that there are not enough hours in the day to do everything you need. It really all depends on what your goals are and what the deal is like. Signing to a major label is certainly not the be-all-end-all.

What is your favorite song to perform live and why?

“Something True” is a fun one. I usually come out in the crowd with my band and we do a little bit of a different arrangement than what’s on the record.

If you were a Spice Girl, would you be Posh, Ginger, Baby, Scary, or Sporty? Why?

Sporty, because she can sing.

You have found a lot of success through the Internet. Between tons of plays on MySpace and an insane amount of views on YouTube, you’ve become quite the viral indie phenomenon. What’s the best advice you have for a new artist that’s trying to get their stuff out there?

Good music will promote itself.

You’ve divided the past few years between Los Angeles and New York. So here comes the tough question: do you consider yourself more of an East Coast or West Coast girl now?

I moved to LA about three years ago but have recently moved back to New York. I love it here so much. New York is more my speed.

Have you begun the process of writing and/or recording a follow-up album to Masquerade yet?

I’m always working on new music! The winner of the Rolling Stone contest will release an EP so I’m all ready for that.

What surprises can your fans look forward to at your New York show at the Highline Ballroom on August 24th? Are you planning on announcing a full tour in the near future?

Lots of rock! My good friends Greg Holden and Allison Weiss are opening for me that night so we’ll all do something together, I’m sure. But I definitely will be announcing a fall tour soon! Stay tuned!

Masquerade was released in November. (iTunes)

On Saturday night, Lady Gaga sat spread eagle atop a delivery table on the stage of Saturday Night Live, belting out “Born This Way” while grasping her very pregnant prosthetic belly before flooding the delivery table with goo and glitter.

“My water just broke,” the 25-year-old superstar tweeted late on Sunday night. And today, on May 23, Born This Way, Gaga’s second studio album, was born to the world.

First things first: To fully understand the exhaustive Born This Way campaign is the equivalent of earning a Bachelor’s degree in Marketing.

The hysteria began to build early in November of 2010, when Lady Gaga proclaimed to a crowd in Norway that Born This Way would be “the greatest album in a decade.”

Gaga’s celebrity friends soon began sharing their own excitement with the world. “The songs, the album, the videos are gonna change culture. It’s gonna save lives, and it’s gonna get people dancing,” proclaimed loudmouth celebrity gossip blogger, Perez Hilton, while Elton John referenced “Born This Way” as “the anthem that’s going to obliterate ‘I Will Survive’.”

The sheer hype became so inflated to quickly that “the album of a generation” was quickly demoted to a term of mockery for Born This Way, damning the album before it even existed.

Word-of-mouth aside, the Born This Way era has resulted in the greatest marketing push in over a decade–or perhaps ever. Promotional posters have been splashed and glued across billboards, subways–even entire buildings.

The album is also defying traditional CD distribution, with over 2 million copies reportedly pressed and sent out to retailers, including ‘non-traditional outlets’ including coffee shops, pharmacies and clothing stores (as well as a brief one-day opening sale at AmazonMP3, in which the entire album is available for just $0.99.)

Tie-ins continue to pour in from major name sponsorships including Polaroid, Gilt Group and Belvedere Vodka (all sponsoring the nationwide album launch club party, the Born This Way Haus Party) and Zynga–resulting in the creation of GagaVille–a Gaga-themed Farmville expansion that caused an explosion of diamonds, motorcycle-riding sheep and purple-maned ponies to run amok on Facebook feeds nationwide.

Without even beginning to address the HBO special (“The Monster Ball Live”), a high-profile appearance on American Idol and a mind-numbing amount of magazine covers and live performances over the month of May, it’s no exaggeration to conclude simply that Lady Gaga has effectively taken over the world.

Yet almost none of this, of course, speaks to the most important part of the album: The music.

Packed with 14 hard-hitting dark club cuts and joyous empowerment anthems inspired by the arena rock of the 1970′s, the twinkling synth-pop of the ’80′s, the pulsations of early ’90′s House and the bubbling-under social turmoil at the root of ballroom/vogue, Born This Way is a hodgepodge of musical influences and attitudes.

While comparisons are already a tired thing in the short history of the Gaga, there’s simply no escape in doing so while listening to Born This Way, a concoction that leaves the recipe book lying wide open on the counter: Whitney Houston makes a joyous appearance on the album opener, “Marry The Night.” “The Edge of Glory” is the arena anthem Bruce Springsteen meant to write, and “You & I” is the 4 A.M. last call piano bar ballad Elton John forgot to lay to record. Kylie Minogue briefly dances across “Electric Chapel,” David Bowie‘s space-pop invades “Bloody Mary,” and of course, Madonna is tucked away between the seams at every opportunity–from the spoken word of “Scheiße” to the all-too-close-for-comfort “Express Yourself” misfire, “Born This Way.”

And yet, Born This Way is still (mostly) its own beast. Take “Americano,” an erratic, thoroughly Gaga-ian moment that plays like a marching band of mariachi players bursting into a gay bar where a production of West Side Story is already underway.

Sonically speaking, Born This Way is leaps and bounds ahead of its tinny 2008 predecessor, The Fame. Booming, sledge-hammering beats pump into the speakers at all times, besting the iPod-ready GarageBand quality of Space Cowboy‘s limited mixing skills.

Song construction has also evolved for Gaga: The verse-chorus, verse-chorus fluidity of Gaga’s perfectly symmetric pop confections from the past three years aren’t always as apparent on Born This Way. Take “Government Hooker,” an unhinged collection of operatic nonsense, hellish yelps and taunting giggle fits.

But just as Gaga’s own self-created myth is so often riddled with hypocrisies, so too is the album.

“If you’re a strong female, you don’t need permission,” Gaga proclaims during “Scheiße,” a runway-styled female empowerment anthem. And yet, the strength remains inconsistent. “I’ll be your anything, I’ll be your everything / Just touch me, baby!” Gaga pleads above the militant dance floor stomp of “Government Hooker,” offering to wash her man’s feet with her own hair minutes later during the album’s ode to codependency, “Judas.” The empowered woman/“I’m not a feminist” hero/victim conflict is a deeply rooted issue in the Gaga complex–something that still hasn’t quite sorted itself out in her music.

There’s also the sheer hypocrisy of “Hair,” in which Gaga breathlessly espouses the notion of hair as identity: “I don’t wanna change, and I don’t wanna be ashamed / I’m the spirit of my Hair, it’s all the glory that I bare,” a sentiment which would be slightly more effective had the entertainer not been wearing brightly colored, gravity-defying synthetic wigs and extensions for the past three years of her life.

And if consistency isn’t always the issue with the lyricism of Born This Way, it’s the ham-fisted attempts to bring higher meaning with its embarrassingly literal lyrics about freedom and freakdom.

Much like Gaga’s live performances or fashion sense, there’s no subtlety whatsoever in what Gaga’s singing about: From “No matter gay, straight or bi, lesbian, transgendered life” (“Born This Way”) to “I’m a nerd / I chew gum and smoke in your face, I’m absurd / I’m so bad and I don’t give a damn, I love it when you’re mad” (“Bad Kids”) Gaga’s obvious attempts to connect with (or, if we’re being cynical, cash in on) the disenfranchised are about as obvious as a self-help pamphlet lying in a doctor’s office. There’s simply no nuance.

Still, not all of the anthems are mired in their own righteousness: “The Edge of Glory,” the album’s closing moment, doubles as one of the album’s strongest offerings. The tribute to Gaga’s grandfather is a glorious Springsteen-ian triumph, including a soaring chorus (“I’m on the edge of glory, And I’m hanging on a moment of truth / Out on the edge of glory, And I’m hanging on a moment with you!”) and a gleefully unexpected saxophone break by the legendary E Street Band player, Clarence Clemons. (That the song managed to instantly debut at #1 in 14 countries upon release to iTunes is a testament to the song’s quality.)

“Highway Unicorn (Road To Love),” a track which truly had everything working against it from the title alone, happens to be one of the more effortlessly ‘cool’ songs on the record, both musically and lyrically. “Run, run with the top down / Baby, she flies…” Gaga snarls above the driving beat, pulsing like a motorcycle engine. “They don’t care if your papers or your love is the law / She’s a free soul, burning roads with the flag in her bra,” she later sings. It’s one of Gaga’s more convincingly bad-ass moments–which makes the song title all the more delightfully ridiculous.

But the moments that shine brightest on Born This Way are the ones where Gaga steps down from the pulpit and concentrates on crafting dark pop rather than ‘freeing’ the youth of America with her oft-inconsistent anthems.

As she’s shown in the past (“Dance In The Dark,” “Bad Romance”), Gaga shines brightest when she brings her darkest to the dance floor. “Scheiße” and “Government Hooker,” two of the album’s greatest highlights, rely on whispered coos and militant rhythms to weave their tales of lust and love. Both the ballroom/’90′s House beats of “Scheiße” and the industrial electro-beats of “Government Hooker” effectively toe the line between a low budget ’90′s German porn and a modern runway accompaniment. “I don’t speak German, but I can if you’d like,” Gaga nonsensically offers throughout “Scheiße.”

“Bloody Mary,” another major album moment, plays like a spacier, slightly more pretentious version of Gaga’s underrated Fame Monster haunt, “So Happy I Could Die.” “We are not just art for Michelangelo to carve/ He can’t rewrite the aggro of my furied heart,” Gaga weirdly warbles above the hellish merry-go-round beat before breaking into a blood curling shriek seconds later.

Elsewhere, Gaga takes Born This Way to new levels of pop-dom on cuts like the jagged “Electric Chapel” and “Heavy Metal Lover,” a deliciously unexpected moment (and personal favorite) filled with luscious, grinding synthesizers and filthy come-ons which plays like the X-rated sequel to Sophie Ellis-Bextor‘s “Lover.” “I want your whiskey mouth all over my blonde south,” Gaga purrs as the song’s grinding beat churns along.

To enjoy Born This Way is to leave your expectations at the door of the electric chapel.

Gone are the days of the blonde hair bows and disco sticks; of love-sick pop-crack tunes and disco ditties. Gaga is hardened now. There’s an electro-rock edge chiseled into Born This Way. The songs are more aggressive and less accessible than anything she’s ever recorded.

Not to say, however, that the sound will be embraced by all of her fans: For an artist who debuted in a bubble dress and commanded us to “Just Dance” only three years ago, it’s not entirely surprising to find that the rock ‘n’ roll schmaltz of songs like “You and I” and “Hair” aren’t exactly going to bring all the Little Monsters to the (grave)yard.

But to surrender to Gaga’s whiskey-soaked, religious iconography-drenched paradise of ceaseless references to past musical legends is a rewarding experience when given the chance.

By the end of the album–despite all of its many lyrical shortcomings, the ballsy claims she’s spewed while promoting this record (‘Alexander McQueen wrote ‘Born This Way’ from Heaven!’), and most of all, the overwhelming HYPE–Gaga has managed to craft one of the stronger offerings of the year thus far.

So, is Born The Way the album of a generation? In terms of hype, perhaps, but in terms of quality? No. That distinction might be better awarded to another young crooner at the top of the charts this year with a far more timeless offering: Adele.

But in this moment, in this year, Gaga has crafted a gorgeously Avant Gaga-gone-mainstream record. Born This Way is a winning piece of work, endlessly jubilant and increasingly infectious, and one that ultimately proves convincing enough to allow a song called “Highway Unicorn (Road to Love)” to be played with stone-cold seriousness.

Born This Way was released on May 23. (iTunes)

The thing is I don’t know when to shut my mouth. That’ the problem.

Sky Ferreira is an ‘it’ girl.

Immortalized by the industry’s top photographers (Rankin, for instance, took the snapshot above), suited and styled by the most desirable modern couturiers, and produced by arguably the biggest names in the music industry, the 18-year-old Los Angeles native has certainly made a name for herself far before ever…well, making a name for herself. Yet.

After sending out a MySpace message to Swedish power pop producers Bloodshy & Avant back in 2006 begging for a collaboration and armed with nothing but a few raw demos, the singer was stunned when she received an answer back inviting her to come record with the duo. Suddenly she was off to Stockholm, and so began her formal endeavor into the industry.

With her first single already making waves in the UK–the infectious, stuttering electro-pop smash, “One”–as well as an upcoming Ryan Tedder-produced single due out in the US later this summer (“Obsession”), Ferreira is now heading full steam toward her long-awaited debut record, currently slated for release in January. (Click here to hear a 30-second sample of the song now!)

I got the chance to speak to the rising starlet last week during her promotional spin around Londontown. Barring an impromptu (albeit hilarious) cameo by PopJustice and more than a few Britney related questions on my end, Ferreira had lots to say about her music, the industry, and the culture of leaks (of the musical variety). Oh yes, and I asked how she gets her hair so nice.

Click “Read More…” to read the full interview.

Oh, hi! Sky?!

Hi!

Hi! How are you today?

I’m good. How are you?

I’m good. How is London treating you?

It’s good.

Yeah?

Yeah.

Well, my name’s Brad. I’m the editor of a pop blog in the states called MuuMuse. I have to let you know that I’m actually recording this on my iPad, so it’s kind of like a wave of the future right now [laughs]. You’ve always been a buzz artist–kind of just below the radar for the past couple of years. I was wondering what it was that really brought you from demos on MySpace to working with pretty much every producer in the industry?

Oh, I–I don’t even know! Greg Kurstin, Paul Epworth, Bloodshy and Avant–they pretty much jumped on board before any of the labels.

Is it true that it was because you sent a message right to Bloodshy?

Yes. [laughs]

Very bold! That’s amazing!

Yeah. That all happened and then, I don’t know, it just started happening and I spoke to the producers and we got along really well.

Now you have your first single in the UK called “One,” which is amazing. As far as the music is concerned, how does “One” compare to the sound of your album right now?

My album? Well, I don’t want to say all over the place. It’s pretty consistent. “One” is similar, but each song is something way different, which is how a record should be. It should never be all the same songs–it can have a similar sound, but just not the same songs, you know? “One” is by Bloodshy and Avant. They pretty much did more than half of my record. They executive produced it.

Oh, wow! How was it working with them?

We worked really well together, I think. We go back so long now–now almost four years.

Did you work in the U.S. on it? Did you fly over?

I worked in Sweden.

Oh, wow! Just like Britney.

[Laughs] Yeah.

On a similar note: I don’t want to turn this into a Britney-fest, but did any of the songs you’re working on actually come from Britney’s sessions, like from Blackout?

No. I’ve written for Britney, but none of the songs I’ve ever done were Britney songs. There was one song I almost sang on that was a Britney song, but it wasn’t a Bloodshy and Avant. It was a song called “Follow My Fingers.”

Was that written by Nicole Morier? That’s happening?

Yeah, it was written by Nicole. No, it didn’t end up happening. I didn’t end up getting it because I usually end up writing my own stuff with other writers, and not songs that are already done. But yeah, that was the only Britney song I’ve ever heard of that was hers once. I’ve written for her, but that’s as far as it goes. None of my songs were actually for her, you know?

Right, you just submitted them?

Yeah. Nothing that’s on my record was ever written for her. Everything that’s on my record was written for my record.

You said your record’s very eclectic because it has different producers and sounds. You also have a single in the U.S. coming up with Ryan Tedder called “Obsession.” I think Ryan’s kind of known for his really big ballads with people like Beyonce, Leona Lewis, and Kelly Clarkson, but I know this is an uptempo song. Can you tell us anything about it?

It’s very poppy, and it has like a Gary Glitter chant in the intro. I would say it’s glam rock-based, but… [Laughs] It’s not glam rock-based, because Gary Glitter is glam rock, but it’s very bold.

How would you say it compares to “One”? Is it entirely different in terms of style?

Um… [Starts laughing]. Sorry! I just looked at my phone and looked at Twitter and PopJustice goes, “I just did a very shit phone interview with Sky Ferreira!”

[Gasps!] Are you serious?!

Yeah! Well, I was just saying I don’t want to be–I want to be successful and I want to be a pop star, but I don’t want to be famous, if that makes sense. I don’t want to be a tabloid person.

Okay. Did you fight with him about it?

Kind of…

Oh no. Actually, I was just half-fighting with him earlier on Twitter about the Spice Girls and Girls Aloud.

Really? Well, I just fucked up that website–oh! [Laughs]

No. I’m sorry!

It’s okay! I’m putting him on blast and it hasn’t even been ten minutes! [Laughs]

Maybe he’s kidding. You know that’s his sense of humor.

Yeah.

I’m sure it’s fine. Do you know when “Obsession” is coming out?

“Obsession” should be out end of August, I think. Or early September.

Is the album still coming out on January 11th?

January 1st. I think it’s the first, but I don’t know–I might have it confused. It just looks like a day that goes one one one one one one.

Well, you have to keep that. I think that’s the most genius idea ever. You definitely have to release on a day of all ones.

Yeah.

I wanted to ask, we’re kind of in a culture where illegal downloading is considered the norm. There’s things like iLeaks.com and forums. What do you think about that and how that may affect the career and the music you make and work hard on?

That’s the thing. I also kind of got in a weird conversation about this with him [PopJustice]. He said it’s not the random people that you mind having the songs, it’s the money. But I was like, that’s not it. I worked very long on this–anyways.

I just feel like people that are my fans…you can listen to the song and stream it, but I don’t know. The leaked downloads and stuff? I know people think that’s helping–well, it’s not people that’s helping. It’s usually people you know and have this problem with you. That’s what happened with Ke$ha, right? The person who leaked her pictures or whatever.

Anyways, that’s all I have! This career I do–it’s one of the only ways I make money and I just–it frustrates me. I mean I understand that people want the songs, and that’s cool, but don’t you think you want the finished product instead of some demo? I understand people having it, but it’s like, if you’re such a big fan then why are you doing that? And then I see people selling stuff on eBay and selling the demos to people…

Yep. That happened last night, actually. Two Britney demos leaked.

Yeah, I don’t know. It’s so weird. I don’t know. I don’ want people angry with me, but it’s like–I’m trying my best to support it, but I don’t at the same time. I don’t mind getting free music, but the stuff that’s on my record, I do mind! [Laughs]

But nonetheless, you’ve managed to avoid leaks at a huge level, considering the amount of people you’ve worked with compared to artists like Ke$ha. You have really had a huge seal on your music. Why do you think that is?

I was really careful about who I gave my songs to, except like twice, and that’s why I know who has them because I never give my songs to too many people ever. I think there’s only two people who have my songs and I know who they are. That’s why I get frustrated because I know who those people are. The thing is there’s nothing you can do because they deny it too, so it’s really frustrating. But I’ve been really careful about that.

It’s hard to say because at the same time it increases your exposure and it gets you new fans.

Yeah. That’s the hard thing about it. At the same time, it’s extremely upsetting.

I think they’re building a new business model around streaming and things like that instead of downloads, because the leaks are definitely affecting…

But everyone finds a way to get stuff. It’s just weird because these people who are your fans will also be the people who re-post your blackmail photos. You know what I’m talking about, right?

I do. Absolutely! It is an interesting culture. People want a piece of you, I guess.

But without your fans you’re nothing, so it’s a really thin line to cross. So it’s like, do I say anything? Then I’m like, “Fuck that. I’m going to say something!” I’m terrible. The thing is I don’t know when to shut my mouth. That’s the problem. I’m the worst about that.

Have you done anything unfortunate lately? Have you said anything bad?

No, I never say anything bad, but I’m sarcastic a lot. The thing is I don’t actually diss people. I point out things that they do. I would flat out say something to you, but I wonlt say “Oh, I hate this person” because there is no one I actually hate.

I’m always like “This person, I don’t agree what they do and this thing and that thing, but I really do like their song,” but I never really talk shit about people. If someone asks me a question, why am I going to pretend? Would you rather me be a liar?

You’re speaking your mind. That’s what you think.

That’s the problem. I don’t know.

I have a few questions from fans and readers that submitted them! I’ll warn you, they get random, but it’s all out of love I guess.

Cool. That’s fine! I hope I don’t come across as a bitch or something. I totally appreciate my fans!

No, no. It’s totally fine. They’re silly more than anything. Let’s see: What song would you love to cover?

“Life On Mars” (David Bowie) without ruining it. I love covering songs though, obviously. I cover a lot of stuff. “Stand Back” (Stevie Nicks) and “Animal” (Miike Snow). I just really like covering songs and having a different take on it, and I like singing. [Laughs]

I think you put a really different spin on each song that you cover. Okay, what music did you grow up listening to?

Um…Britney Spears! [Laughs] Elton John. The thing is I like the whole Top 40 stuff, but I also like The Misfits, Marc Bolan, David Bowie and April March–I like all different genres. It’s not a problem, but it’s hard for people to understand sometimes why I do certain music, because I want to be able to do all different types of music.

If you listen to Britney..I’ll just say I’mthe number one Britney fan. I said that. What are you favorite Britney songs?

“Born to Make You Happy” was my first official–”Sometimes” too, when I was like six or seven. “Born To Make You Happy” was my first favorite. I liked the music video for “Sometimes” when I was little. I like “Lucky,” “Overprotected,” “Boys,” and the whole Blackout album. The whole Blackout album was so good. It’s still one of my favorite albums.

Amazing. That’s actually another one of the questions. What are your favorite albums of all time?

The thing is I like more songs than I like albums, so I’d pick greatest hits for everyone. [Laughs]

I love songs, so maybe I should answer the question that way. “Life On Mars” and “h! You Pretty Things” by David Bowie. And “The Man Who Sold The World.” “Cosmic Dancer” by T-Rex. The whole Blackout album. “As Tears Go By” by The Rolling Stones. “Bang Bang” by Nancy Sinatra. Early Madonna is my favorite. And Vanity 6, “Nasty Girl.”

I’m guessing you heard “Sex Rules.” Did you?

Oh, yes. Yep. I listened to it literally all day yesterday.

Yeah, that’s based off of Vanity 6.

Oh, that’s perfect! I always complain that we need an artist that brings Vanity 6 back. It’s that vibe. Playful, sexy, but really danceable. Is it going to be on the album?

Yeah, that’s one of my favorites. It’s definitely going to be on the album. That was like the first demo.

I was going to say that was probably like an early demo, and that it hasn’t been mastered or anything.

Yeah.

What products do you use for your hair?

Uhh..That’ so weird. [Laughs] I use Mane n’ Tails conditioner. I swear on my life.

You do have very nice hair. Finally, where do you see yourself in five years?

I see myself with a lot more records and different music projects. Happy and successful.

Aw, good! I really appreciate you talking to me. Very excited for the album. I wish you loads of success!

Thank you.

Have fun in London. I’ll talk to you soon!

Thanks! Nice speaking to you!

Many thanks to RJ Kozain for providing the transcription of this interview.

For more on Sky Ferreira, click here to visit her official website or her Twitter.

And If you haven’t already, please check out Sam Lansky’s guest Muuse, “Fame Fetale: The Rise of Sky Ferreira” right here.

As Torrance Shipman once said in the 2000 classic, Bring It On, “Missy’s the poo…so take a big whiff.”

While that quote doesn’t really apply here (aside from suggesting that Gaga is indeed ‘the poo’), the point is this: As the driving force behind the writing and recording process of her music, the creative director of her album artwork, music videos, tour visuals, merchandising and just about every other minute facet of her career, Lady Gaga is a very new kind of pop star; one that sings live, writes and records, dances, styles photoshoots, and waxes poetic about the lifestyle of the artiste.

While many have managed to break the market on their own terms, I can’t think of a single mainstream female pop artist in recent times who has exercised nearly as much creative control in both the audio and visual department as Lady Gaga.

In fact, I can’t think of any.

November 23 will see the release of Lady Gaga’s The Fame Monster, an 8-track concept album originally intended to be a re-release of her debut, The Fame. Written as a kind of antithesis to the subject matter of The Fame, The Fame Monster centers around horror and fears–from love, to loneliness, to death.

After some squabbles with her label (and a few inspired writing sessions while out on her Fame Ball Tour), Lady Gaga decided that this newly formed collection of tracks was enough of a living creature in its own right to merit release into the wild all on its own, rather than being slapped onto her pre-existing album. Of course, you could opt to purchase the album as a 2-CD bundle, but as a whole, the record is capable of standing on its own feet–however many feet a monster may have.

Now then, let’s run down the tracklisting.

The Fame Monster begins with “Bad Romance,” the current single that continues to power its way up the radio play charts. Better known as the song of 2009, “Bad Romance” is an unstoppable barrage of catchy hooks, hymn-like chants, and soaring crescendos. It’s a raw, raucous affair, best served at max volume in cars and clubs, and arguably the greatest track that Gaga has ever recorded.  Starting off with such a praise-worthy number, it’s fairly easy to forget that “Bad Romance” is just the first song off of the album.

“Alejandro” comes next, an Ace of Base-like mid-tempo, tropical track. While my reaction to the track was initially lukewarm after hearing the song in demo form, the album’s revamp adds a nice punch to the mix, creating a solid introduction and some reworked vocals. Watch out, though–the repetitive melody is addicting, and you may find that the song’s play count racks up faster than you can say “Alejandro,” “Fernando,” or any other man-of-Latin-origin’s nombre.

“Don’t call me Gaga,” Lady G announces as “Monster” begins to play. At this point, there’s really no need to progress any further into the album, as Gaga’s about to nail it: “Monster” is the epitome of the album’s essence, mashing a killer bass line with cheeky, creature feature lyricism: “We french kissed on a subway train / He tore my clothes right off / He ate my heart, and then he ate my brain,” Gaga laments during the song’s massive, glitchy (perhaps even picopop inspired?) breakdown. It’s a major hit, and is pretty much destined to be an upcoming single sometime soon.

“Speechless,” the next song on the album, comes with plenty of baggage in the Gaga Claims Department over the past few months, with “My favorite song of all” and “The greatest song I ever recorded” being just a few of the quotes offered up by the pop star during interviews. As one might imagine, the song has built a substantial amount of hype.

Mercifully it delivers, and the pay off is rich: “Speechless” is the ’70′s power rock ballad that always been hinted at in her earlier work (“Brown Eyes”, “Again Again”), though never fully realized until now. Penned for her father, “Speechless” is the result of Lady Gaga’s appreciation for the arena-rock legends and glam gods of yore (David Bowie, Freddie Mercury) that avoids imitation and plays like the torch ballad Gaga always needed. It may not be the greatest ‘hit’ of the album, but it is the most aurally adventurous (and surely the most personal). “I’ll never talk again / Oh boy, you’ve left me speechless,” Gaga croons with a swagger hitting somewhere between classic Elton John and Liza Minnelli. Concertgoers, be prepared–this one’s made for the lighters-in-the-air moment.

Coming in thereafter is “Dance in the Dark,” the album’s chilliest moment. “Silicone, saline, poison, inject me / Baby, I’m a free bitch,” Gaga scowls at the song’s beginning, which happens to double as the greatest opening line of the year. A hands-in-the-air dance song about a woman being harassed by her boyfriend, Gaga’s “Dance” is a murderous slice of pop complete with industrial whirls, haunted synths and occasional screams of anguish in the distance.

Part of the songs appeal, aside from being as danceable as it is dark (thus, “Dance in the Dark”…get it, eh?), lies in its occasional nods to the classics–from the  pulsating injection of Depeche Mode‘s “Strangelove” into the opening chords to its homage to Madonna‘s “Vogue” throughout the song’s spoken word middle eight:  “Marilyn, Judy, Sylvia…tell ‘em how you feel, girls!”

However unlike Madge’s celebrity roll-call, Gaga limits her subjects according to theme, choosing only those who’ve suffered a tragic end by way of, or indirectly because of, the fame. By the end of it all, you’ll want to know only one thing: Who knew emotional abuse could inspire such happy feet?

The next track, “Telephone,” is a doozy–a duet with Beyonce? Even on print, you’re already asking for trouble. “Telephone” was originally penned and serviced to Britney Spears by Gaga, rejected, and then reclaimed by the writer herself.

Along with a beat recalling Timbaland‘s “The Way I Are” and a frantic, stuttering electro-bass line, “Telephone” is a mish-mosh of synths, phone sounds and above all, rampant telephone talk. While Beyonce’s vocal runs are a welcome addition to the track, the song functions best as an unapologetic celebration of the vocoder. Just dance, as someone around here might say.

“So Happy I Could Die” seems to pick up where The Fame‘s “Starstruck” left off, borrowing its squeaky synthesizers and urban flavoring to engage in some self-indulgence. “In the silence of the night, through all the tears and all the lies / I touch myself and its alright.” While some reviews have likened the track to Britney Spears‘ “Touch of My Hand,” the music and lyrics seem far too dark to place “Happy” in the same realm as Spears’ ode to self-exploration. As the verses fade, the unusual anti-chorus fills the void: “Happy in the club with a bottle of red wine / Stars in our eyes ’cause we’re having a good time / Yeah, yeah / So happy I could die.”

Minimal and moody, “Happy” provides food for the mind while moving back and forth between Gaga and an unidentified “she.” It could be herself she’s referencing, but I’m still uncertain. Sasha Gaga, perhaps?

“Teeth,” the album’s premature closer, takes a surprising turn in sound: A stomping, hoot-and-holler-worthy chant-along, the final track of The Fame Monster invites listeners to cut loose and…well, sink their teeth into the music. Part musical, part country, and a little bit tribal in spots, Gaga snarls and taunts above an incessant, stomping march: “Take a bite of my bad girl meat / Show me your teeth.”  It’s an odd choice to end the album, though a surefire crowd pleaser for live shows if the addictive backing beat is anything to judge by.

Out of the eight excellent tracks of the album, the greatest part about listening to The Fame Monster is not the catchy beats or silly lyrics (of which there are many), or even the lock of Gaga’s own hair included with the Super Deluxe Fan Edition (with which I still have no idea what to do with)–it’s the fact that the album is history in the making.

For better or worse, Gaga is on the path of legendary status:  With only one album under her belt, Lady Gaga has already broken a world record for most #1 singles from a debut album, written for Britney Spears, Keri Hilson and the Pussycat Dolls, collaborated with high-profile photographers and artists including David LaChapelle, Araki, and Markus Klinko (which is not to forget her sheer influence on the runway, as well as scoring the devotion from runway legends like Alexander McQueen and Marc Jacobs). Along the way, she’s performed across the world to millions from San Francisco to Jerusalem, including a recent concert in New York where a newfound fan named Madonna watched along with her daughter, Lourdes, in the audience.

While I may be prone to hyperbole, I do believe that The Fame Monster is without a doubt the pop album of the year, if not one of the finest pop records of the decade.

And to think, this was just going to be a re-release.

Pre-Order The Fame Monster from Lady Gaga’s Official Store | Buy tickets to The Monster Ball Tour | MySpace | Official Website

Answer: No. As Marina & The Diamonds demonstrates in the lusciously dazzling video accompaniment to her single, “I Am Not A Robot,” being the lovechild of Ziggy Stardust and Kylie “X” Minogue can only be a good thing. Though not a lot actually happens, the video still manages to intoxicate…perhaps because I can do nothing but wonder how she managed to get all the glitter out of her orifices after this shoot.

Oh yeah, and it’s almost like some of Björk‘s “slow pan” videos a la “Cocoon” and “Hunter.” Not as good, but close.

UK Muusers, click below to hear “I Am Not A Robot” from Marina & The Diamonds’ Crown Jewels EP.

1. Pink Floyd – Us & Them
2. David Bowie – Boys Keep Swinging
3. Grace Jones – Done It Again

Short but sweet.

I know they’ve been performing “Done It Again” live, and I’m dying to hear it in the studio setting!

Click here to check out the band’s original blog post on MySpace and see their thoughts on all three songs.

A Camp is currently touring, so check out the tour dates here. And finally, click below to hear more from Nina and the boys!

She looks like the poor man’s drag queen reincarnation of Frenchy from Grease, sounds like Christina Aguilera getting a colonic, and dances like she’s being raped by wolves. I mean, for God’s sake, what is with those spastic body tosses?

The sheer gall involved in making a song about “bluffin’ with my muffin” as self-indulgent as this four minute flop-fest is simply beyond my comprehension. A shameful, cheap attempt at evoking Freddie Mercury and David Bowie. There’s no punchline here…the video does much more than I ever could.

For all those times I’ve wavered, those times I’ve even slightly considered the notion of joining Team Gaga, I just want to say I am truly sorry, Muusers. Really, I am.

I don’t know what I was thinking.

Video credit to MJ’s Big Blog and ONTD.

The full version of album track “Merry Christmas Mr. Lawrence – FYI” has made its way to Utada’s iLike page. Please, don’t let the melancholic opening strings fool you–the song quickly opens into a delicious mid-tempo swaying stomp. Quite an “instant classic,” as they say.

Additionally, thanks to a comment from poster Michael, I’ve learned that not only is the title in question ithe name of a movie starring David Bowie, but that Hikki samples “Forbidden Colours,” the title track of the movie, for the song.

Very good to know! Thanks, Michael!

I took the liberty of ripping the track from the site for my Muusers, so please…enjoy it!

DL: Utada – Merry Christmas Mr. Lawrence – FYI (Sharebee)