On Nov. 11, 2013, the rejoicing of little monsters everywhere was heard across the world with the release of Lady Gaga’s long awaited “ARTPOP.”

Production for the album began shortly after Gaga’s second studio album, “Born This Way,” in 2011. However, due to Gaga’s hip surgery and the rehab that followed, “ARTPOP” was delayed for nearly two years. But Gaga is back and more fabulous than ever.

Gaga’s latest installment, which was inspired by the artistry of Marina Abramovic and Jeff Koons, treads into new territory with electronic beats and a rap number.

Cameos include beats by Zedd, Madeon and David Guetta and hip hop royalty T.I., Twista, Too $hort and R. Kelly.

Like the vast majority of Gaga’s music, “ARTPOP” drips with sexual euphemisms and undertones critiquing sexual identity while escalating drag. Along with the sexual norms that little monsters have come to expect, Gaga also sheds a postmodern light on materialism, narcissism and drug use, specifically with “Donatella,” “MANiCURE” and “Jewels N’ Drugs.”

Despite Gaga’s sometimes flamboyant singles, tracks such as “Dope” and “Swine” lend sincerity to the album and shed light on insecurities faced and overcome by the icon. Recognized as the celebrity with the strongest connection to fans, Mama Monster proves once and for all that she is the protector and speaker of the nonconforming and the misfits.

Gaga’s discoesque, upbeat and consequential third studio album satisfies the little monster inside all of us while imbedding the constant desire for more Gaga.

cchiovit@mavs.coloradomesa.edu