Lady Gaga has been a major pop figure ever since her debut album, “The Fame” in 2008. With around 94 albums, Gaga added her newest one on March 7, titled “MAYHEM.” The album contains three pre-released singles and 11 new songs. The album mixes several genres in Gaga’s unique fashion, showing that despite her long career, she can still keep up with the changing trends.

The album begins with “Disease,” which had already been released Oct. 25. It opens strong, with Gaga’s signature style shining greatly. This song can be played over and over again and it still won’t become boring. It’s certainly an earworm, but Gaga’s excellent vocals make it worth it.

I give “Disease” a 9/10.

Next up is another pre-released single, “Abracadabra,” released Feb. 3. The song feels very reminiscent of Gaga’s older work, but with a more modern take on it. The song and its dance trended on TikTok after its release and it’s certainly clear why. Most fans of either Gaga’s newer or older songs can find themselves enjoying it.

I give “Abracadabra” an 8/10.

“Garden of Eden” is another excellent track. The choir-sounding parts in the pre-chorus and bridge fit nicely and are a great representation of Gaga’s fresh sound in the pop world. The latter half of the chorus is a bit unpleasant and the post-chorus gets repetitive quickly, but other than that the song is excellent. It ends with a screeching sound that’s very annoying, but since it’s at the end, it’s quite easy to skip over.

I give “Garden of Eden” an 8/10.

The intro of “Perfect Celebrity” opens with a strong and bold instrumental. Gaga uses the song to discuss how the industry has caused a warped vision of herself for both audiences and her own mind. It’s a powerful and raw song that delivers its message strongly. Although it sounds similar to “Disease,” it’s very unique in its own way.

I give “Perfect Celebrity” a 9/10.

“Vanish Into You” isn’t as good as the previous songs, but it’s certainly not terrible. Gaga’s voice can be a bit grating as it stays high throughout most of the entire song, never giving listeners a chance to relax their ears. However, the instrumental break in between the two ending choruses is amazing, very enjoyable and almost nostalgic-feeling.

I give “Vanish Into You” a 5/10.

The next song, “Killah (feat. Gesaffelstein),” is even worse. It feels reminiscent of something that Lizzo would make, not even fitting Gaga’s more upbeat tracks. The song just sounds unoriginal and like it belongs in the speakers of clothing departments. Compared to the vibe of the album so far, it’s totally out of place and awkward.

I give “Killah (feat. Gesaffelstein)” a 3/10.

“Zombieboy” is definitely similar to the previous one, but better. The song is a tribute to her late friend Rick Genest, with lyrics expressing how they would feel the night after partying. The guitar during the second-to-last post-chorus is absolutely excellent and adds an interesting element to the instrumental.

I give “Zombieboy” a 6/10.

“LoveDrug” is another great track that showcases Gaga’s great vocals. The lyrics are about love being like an addiction, a feeling that many people can relate to. This song furthers the idea that Gaga can always work great with an instrumental, no matter how upbeat or gothic it is.

I give “LoveDrug” a 9/10.

Despite the unique instrumental in the intro, “How Bad Do U Want Me” falls flat. It feels too amateur and teenage-angst-filled for a song by Gaga. It’s almost Taylor Swift-like, with dramatic, unfitting vocals for plain instrumentals.

I give “How Bad Do U Want Me” a 3/10.

“Don’t Call Tonight” is strikingly similar to “How Bad Do U Want Me,” but slightly better. It still has that Taylor Swift feeling to it, but at least this track feels more grown-up. The bridge is certainly unique, but as it leads into the chorus, all enjoyment of the song is lost.

I give “Don’t Call Tonight” a 4/10.

“Shadow of a Man” is a drastic improvement from the previous two songs. The electronic instrumental, especially the guitar and synthesizer, is the greatest out of all of the tracks on the album. There are great vocals that keep the song interesting while not hurting the ears. Everything in general about this song makes it a complete hit.

I give “Shadow of a Man” a 10/10.

Although “The Beast” isn’t as good as the track before it, the song can still be enjoyable for some. Slow songs like this one with dramatic vocals have never been my favorite, but I can still appreciate the subtle instrumental between the chorus and the bridge.

I give “The Beast” a 7/10.

Another slow song, “Blade of Grass,” follows after. Unfortunately, this song is a downgrade compared to the previous one. There’s nothing remarkable about it, as well as the vocals becoming a bit grating again. The song uses one of the most common melodies in pop music, but it fails to add anything unique to it. The song has a nice message, with it being inspired by her fiancé’s proposal, but that’s overshadowed by the song’s simplicity.

I give “Blade of Grass” a 4/10.

Closing out the album is a song rereleased Aug. 16, “Die With A Smile.” The song features Bruno Mars, who hadn’t released a song in several years before this. Many people enjoy that “MAYHEM” ended on a softer note compared to the more bold beginning, but I wish it would have kept the excitement going throughout the entire album. “Die With A Smile” is certainly nice, and I can see why it’s so popular, but it just doesn’t fit my taste.

I give “Die With A Smile” a 6/10.

“MAYHEM” is a pretty even split between great and mediocre songs. I definitely recommend it, as I’m sure most people can find at least one song they enjoy. While it certainly won’t have as big of an impact as her albums “The Fame” and “Born This Way,” it still has some great songs that should be remembered and praised.

I give “MAYHEM” a 7/10.