What an impressive blur of genres foreshadowed by the literally blurry album cover. Half a decade after the theatrically electric Chromatica, Lady Gaga returns to her roots in fabulous form, with campy, fashion-forward music videos for songs with big synths in the chorus, the brand that pushed her into fame years ago. She’s got a handful of intriguing musical left-turns up her sleeve, as befits her status as godmother of theatrical pop/protégée of Michael Jackson.

At the heart of Gaga’s latest offering is a rich exploration of transformation, identity, and desire. These themes are not only prevalent in her lyrics but are also mirrored in the visual aesthetics of her music videos. Gaga has always been a chameleon, shifting her persona to reflect her artistic evolution. Stylistically, the songs sound like deep cuts from her past discography and the lyrics are as emotionally transparent as ever, putting her emotive vocals and catchy hooks at the forefront. This latest project sees her grappling with the complexities of fame and personal identity, often employing metaphors of transformation to articulate her experiences.

In the midst of the head-rush chaotic bricolage, she aptly uses metaphors of transformation to discuss identity and desire. The shining example of this is ‘How Bad Do U Want Me’; a charming highlight of MAYHEM, with a synth-heavy sonic-scape frequently compared to Taylor Swift’s that was almost removed from the track-list. Thankfully, it wasn’t, and we get to enjoy what a duet between Lady Gaga and Taylor Swift could sound like. Certainly, its narrative (a retelling of Rebecca, might I say?) and vocal delivery strike as a homage to Swift’s 1989 era; her sharp desperation leaking through but never detracting from the glittery drums and guitar.

The lack of characters, concepts and aesthetic impulses that would otherwise have overshadowed the stellar selection of songs ranging from pulsating electro-clash about a situationship to a clattering, snarling musing on fame’s dark side. Her ballroom influences stand out here through stylistic diversity and unconventional structure, transporting the listener through a string of emotions. The incorporation of elements from ballroom culture not only enhances MAYHEM’s diversity, but also pays homage to the vibrant communities that have influenced Gaga’s artistic development.

She blends the persona of the disruptive performer with whatever authentic self she has as a woman together in this intensely narrated album. Amidst love songs to her partner, she observes the perils of fame on the electro-grunge ‘Perfect Celebrity’, a spiritual sequel to ‘Paparazzi’ with an industrial arrangement openly inspired by Nine Inch Nails. It takes a satirical approach to criticism levelled at her that, again, feels like a homage to Taylor Swift (more specifically, ‘Blank Space’). The trials and tribulations of the double life in and out of the spotlight is spotlighted most earnestly and prominently when she mentions a clone on the ceiling: a Gothic double, for those inclined towards more literary descriptions.

Lady Gaga was a prescient star when she first burst onto the pop scene. Since her debut, she has boldly challenged societal norms, advocating for self-expression and acceptance. Now she has matured and has a musical lineage of her own (see Sabrina Carpenter’s glamorous self-parody, Chappell Roan’s drag aesthetic), and her defiantly raucous maximization of her significance on the dance floor feels very deserved. MAYHEM is one of her strongest full-length projects, a loudly soul-bearing dose of pop songwriting that feels, more than ever, like resurging mayhem.

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