The Weekly Coos

Though I’ve come to appreciate some of the highs Lady Gaga has delivered since 2011’s Born This Way, nothing has hit me as noticeably as her music has, especially as a pop fan. That changed with her latest album, Mayhem, which shifts away from Chromatica since it’s not produced by the milquetoast DJs like Axwell, Burns, and Madeon who contributed to it. I’m a fan of the latter, but his production isn’t an effusive game-changer that would elevate a straightforward Eurodisco track beyond its surface rhythms. Fortunately, Mayhem is an album that takes chances within the pop landscape, moving away from heavy EDM elements and allowing songs like “Zombieboy” to flourish as a fantastic Disco-Pop Funk production by Andrew Watt and Cirkut. Their collaboration collides drums and synthesizers into a monster dance tune, demonstrating a great transitional shift compared to the contrasting mechanical acoustics of “LoveDrug,” where that same fervor isn’t felt. With the ups and downs from Mayhem, the notable highs make it clear that this is the next great Gaga album.

I love it when Lady Gaga is bold with her music, even when it doesn’t land like others—Joanne comes to mind as an album that goes for boldness despite a lukewarm reception—ArtPop was a mildly forgettable foray into messy EDM—Chromatica leaned into the club atmosphere with heavy House beats—but it’s through this we get some of her fantastic moments, such as the Disco-House track “Rain On Me” featuring Ariana Grande from Chromatica. However, Mayhem returns to her strengths, creating ways to envelop them in these fantastic songs, with genre-bending elements shining even more boldly. For instance, a song like “How Bad Do U Want Me” can coexist cohesively with “Don’t Call Tonight.” The former is a lush, Electro-pop monster that explores darker tones in its writing while inviting you to yearn for the dance floor. The latter is more uptempo and groovier, integrating Funk and Italo Disco sounds into the genre-bending mix. It reminds me a lot of Fame Monster era Gaga, and the maturity shines in the production as it feels more composed and direct. Gaga reaches into the light while fighting the darkness, as portrayed in the “Abracadabra” music video.

“Abracadabra” is fantastic, much of which stems from its showcase of what the album embodies. Lady Gaga expresses an external musical struggle between light and darkness as they influence the tonal output through thematic writing. It’s an anthemic track further elevated by being distinguishable from others, empowering the listener to groove. We hear this with “Garden of Eden” and “Shadow of A Man,” which echo older Gaga with their rock undertones. This internal battle shines through her virtuosity in self-empowerment while acknowledging her mental struggles. It’s a juggling act; she shines more consistently in the second half than in the first. While each half has one track I’m not crazy about, the second half leaves a more impactful impression, especially as it explores more creative angles over the typical ones heard earlier. It’s a worthwhile experience to see Lady Gaga embracing her most confident vulnerability as these songs come to life through the writing of both her and her current fiancé. It’s bold to let such bleak depths envelop her music, all while knowing there is reassurance behind her. This element makes the album a profound landmark following more middling releases since Born This Way.

The first half of Mayhem is a microcosm of who Gaga is as a foundational pop act, blending pop beats with elements of glam metal, hard rock, and industrial influences. I say foundational because she has always skewed from the masses, creating something esoteric, as we heard in the phenomenal “Bad Romance.” The second half sees Gaga exploring different paths, including “How Bad Do U Want Me,” “Don’t Call Tonight,” and the Dark Jazz-influenced “Blades of Grass.” These songs offer a fresh take compared to the first half, leading to a return to form with sounds from her past before transitioning into the audacious positivity of the second half, where Lady Gaga expands her horizons within the overarching production, as showcased in the previously mentioned tracks. They starkly contrast synth-rock tracks like the anthemic “Garden of Eden” or the melodically nostalgic “Vanish Into You.” While I enjoyed most of Chromatica, I’d be remiss if I didn’t admit it felt somewhat forgettable outside of its standout singles. With Mayhem, it’s more than that; it maintains a proper equilibrium that keeps the momentum going from beginning to end, despite a couple of quick currents trying to disrupt that flow.

If it hasn’t been obvious to you yet, I’m a big fan of Mayhem. While some of it might stem from a little nostalgia, there are just so many moving parts that come together beautifully, allowing the whole experience to flow seamlessly from start to finish without many interruptions. It feels like she finally took the time to create something that truly reflects who she is, rather than sticking to one sound, which we heard in her last two albums before Mayhem. I may feel lukewarm about two songs, but I highly recommend this, especially for Gaga fans who weren’t enthusiastic about her recent projects.