I have to say, I did not expect Killah to turn out the way it did. When I first saw Gesaffelstein’s name attached to the track, my mind immediately went to his usual industrial and heavy sound—think Disease and Perfect Celebrity. So, naturally, I assumed Killah would be in that same vein. To make things even more confusing, when Lady Gaga dropped the snippet of Perfect Celebrity, I actually thought it was a preview of Killah.
Then the song was finally released, and I was shook—in the best way possible. It was completely different from what I had imagined. And honestly, that’s a lesson I never seem to learn when it comes to Lady Gaga. The moment you think you’ve figured out what she’s going to do, she turns around and does the exact opposite. She keeps us guessing, and that’s why she remains one of the most exciting artists in the industry.
I won’t lie, my initial listen was met with some hesitation. My expectations had built up a completely different version of Killah in my head, so I couldn’t enjoy it as much at first. But after giving it another go, something clicked. And now? It’s easily one of my favorite Lady Gaga songs ever. The way she experiments with new sounds and vocal styles is truly something to admire. Her delivery on this track is unlike anything she’s done before, and I love every second of it.
And let’s talk about the potential for a music video! If Gaga decides to make Killah a single, it has to be the long-awaited continuation of Telephone. Hear me out: Beyoncé and Gaga drove off after the massive homicide at the desert diner. Now, let’s say Bey dropped Gaga off in New York, where she reinvents herself as a femme fatale, targeting city men because—well—she’s a Killah!
Tell me I’m not reaching for the stars with this theory! It just makes sense, right? Either way, Killah is a testament to Lady Gaga’s ever-evolving artistry, and I’m so glad I gave it a second listen. What are your thoughts? Do you think Killah could be the Telephone sequel we’ve been waiting for?
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