Lady Gaga’s newest album is refreshingly different but remains lukewarm. Her voice, usually covered under computer editing, is slurred but crisp with flawless technique to prove she’s Jazz’s diamond in the rough. Playing with Tony Bennet’s rich and soft voice, the two have come up with a great, albeit traditional, experience. Filled with obvious choices, the album does not push the genre but instead reiterates it. Which isn’t necessarily a bad thing. But we can’t but feel somewhat bored with the set list. We were hoping Gaga could break some boundaries in Jazz, which so desperately needs change. We knew Bennett’s classic and respected (just like the genre), but could Lady Gaga be the controversy that Jazz needs to gain a younger audience? Lady Gaga, who has endured endless phases of her career, seems to be taking a sharp left turn from last year’s failure, ARTPOP. The album was good (despite it’s funky 80’s vibe) but Lady Gaga the brand wasn’t shocking enough to bring the album into the success it needed to be. This time around, she seems to be doing somewhat the same thing. She isn’t making headlines (a nod to the album cover) because of her frustrating new obsession with the 80’s (what is it with that wig!?). But she’s come out of this album as pleasant surprise, which is what’s important. The album has proven Lady Gaga isn’t done yet. She might be fading as a pop culture icon, but she’s quickly building another persona that highlights her classical roots and flawless technique. And who could blame her.