3.5 out of 5 stars
Lady Gaga’s new album “MAYHEM” fuses ‘80s techno, grunge and pop with early 2000s sound. The result is a complex blend of genres that offers a little something for everyone, but the standout performances on this album are dragged down by multiple lackluster songs.
I invite my fellow Monsters to put down the pitchforks and hear me out, as I would by no means classify this album as a bad piece of work. “MAYHEM” grew on me with each listen, but its electric start fizzles with a few tracks that simply do not meet the Gaga standard of excellence.
Released on Friday, March 7, “MAYHEM” marks Gaga’s seventh studio album. The title of the album perfectly encapsulates the range of the work and Gaga’s journey as an artist. Her bold experimentation with sound in “The Fame Monster” and “Born This Way” has come to define her style and carve out her image in pop culture history.
This album benefits from fantastic production and a cohesive, polished sound. Gaga delivers stunning vocal performances over the album’s 14-track runtime and demonstrates a masterful understanding of different genres.
The album opens with a bang from “Disease” and “Abracadabra” in classic Gaga fashion. These tracks are exhilarating hooks that feature strong beats and an addictive, club-ready sound. They also contain my favorite musical element: monotone Gaga-speak. You just can’t beat that!
Gaga’s solid dance-pop opening transitions nicely into “Garden of Eden,” a slightly repetitive but undeniably catchy synthpop ode to the ‘00s. “Garden of Eden” is a callback to Gaga’s previous dance anthems like “Just Dance.”
“Perfect Celebrity” has a cold start but finds its way in the final stretch. Here, Gaga explores the downsides to life in the spotlight. This song showcases a powerful chorus, grungy bridge and impressive vocals.
Where “MAYHEM” begins to fall short is in its many instances of dragging beats, noticeable repetition, occasionally bland lyrics and flat tracks. Multiple songs build up but never pay off. This becomes a persistent problem later in the album, with some tracks simply failing to maintain the energy of the opening songs.
“MAYHEM” hits its first speedbump with “Vanish Into You,” which left me waiting for a beat drop that never came. On the heels of “Perfect Celebrity,” this song felt toothless and unmemorable.
“Killah,” featuring Gesaffelstein, gets lost in its funk style, creating a generally unpleasant listening experience. This song manages to be both too long and incredibly single-note. “Killah” is one of the most egregious examples of lyric repetition in the album. I could forgive this if the lyrics were catchy, but this song highlights Gaga’s tendency to repeat the title of the song into oblivion.
The same issues pop up in “Zombieboy,” an overproduced ‘80s tribute. The lyrics of this song felt dull from such an accomplished lyricist as Gaga. I expected to be transported during Gaga’s songs, I just didn’t expect to be transported into a TJ Maxx ad.
Then, a shining light splits the auditory no-man’s-land in the form of “LoveDrug.” Gaga’s low, rich vocals do the heavy lifting in this track, which provides a welcome break from the ‘70s and ‘80s sparkle sound effect wasteland of “Killah” and “Zombieboy.”
Gaga then salvages some of the album’s previous momentum with “Don’t Call Tonight.” This song juxtaposes vulnerable lyrics about a toxic relationship with disco funk. Gaga makes up ground with the energized tempo and playful beat on this one.
She delivers another reminiscent dance-pop hit in “Shadow Of A Man.” For veteran fans of Gaga, this track will call to mind favorites from “Born This Way.” “Shadow Of A Man” shines bright with its excellent sound design.
“MAYHEM” ends on the multi-award winning “Die With A Smile,” featuring Bruno Mars. This song is a soulful, emotional ballad about love and the impermanence of life. It may be overplayed, but this is an effective collaboration that warrants a couple rewinds.
Despite its flaws, the album still demonstrates Gaga’s artistry. “MAYHEM” is a daring exploration of genre with clever callbacks to some musical greats. Though it may not stick the landing in every track, Gaga’s blend of genres lends itself to a completely unique sound.
For devoted fans, “MAYHEM” will check most of the boxes. Give it a shot, take what you love and leave the rest. I’m leaving “Killah” and “Zombieboy,” but “LoveDrug,” “Shadow Of A Man,” “Disease” and “Abracadabra” are definitely coming with me.
Photo courtesy of Lady Gaga Now.