As a kid who grew up dreaming of wearing a meat dress and danced to "Born This Way" every day in the shower, my disappointment with Chromatica was unimaginable. Restrained, sensitised, and carrying a distinct sense of being "manufactured", it just felt like a mish-mash of tracks thrown together cosplaying a quintessential Gaga album. The five-year wait, marked by a jazz project and two failed soundtrack albums, after that disastrous release felt excruciatingly long. However, when I opened Spotify on March 7 and was greeted by MAYHEM, a brand-new Lady Gaga album — whose first track, "Disease", sounded like a grungy, gothic callback to "Born This Way" and The Fame Monster — I was instantly hooked.  

Following the slow and heavy opening, the second track, "Abracadabra", is what many describe as classic Lady Gaga. Its psychedelic dance-pop sound and energetic choreography — reminiscent of the "Bad Romance" music video — is the wave of nostalgia that numerous fans, old and young, have been craving for.

MAYHEM, however, is not just Gaga recalling her own glory days. Inspiration from a variety of sources is evident throughout the course of the album. "Killah" carries a distinct David Bowie sound. "Shadow of a Man" and "Kill for Love" (bonus track) also sound like songs straight out of Michael Jackson's discography. Strings of Madonna and Prince can be felt in places too. 

A strong suit of MAYHEM is in its choruses, as seen in "Garden of Eden". The sultry track, referencing the Book of Genesis, is characterised by brash and energetic vocals in its verses followed by soft vocals in its chorus, almost like it is luring the listeners into temptation.

The album presents a variety of sounds, ranging from heavy metal to vapourwave. Tracks such as "Perfect Celebrity" and "Can't Stop the High" (bonus track) might compel one want to scream the lyrics out loud while "Don't Call Tonight" and "LoveDrug" are songs one might blast on a lonely evening drive.

"Zombieboy" and "The Beast" were probably the most fun tracks in the album. Hedonistic and unhinged in all the right ways, they preached a complete lack of inhibition in much the same way Charli XCX's Brat promised to do, only with psychedelic and grungy bits and pieces strewn about.

While the first three-quarters of the album had absolutely enraptured me, the last few tracks left me somewhat disappointed. The Taylor Swift-esque sound of "How Bad Do U Want Me" felt disconcertingly odd in her voice. "Blade of Grass", a romantic nod to her fiance, employed a rather common pop melody that stripped it of all its Gaganess. "Vanish into You" utilised the same themes while preserving the core sound. And arguably the biggest song of the project, "Die with a Smile", a collaboration with Bruno Mars, felt entirely out of place. The generic ballad did not connect with the previous tracks, nor did it fit the overall daring, dance-oriented theme of the album.  

However, despite a few duds, MAYHEM might just be Lady Gaga reclaiming her place as a queen of pop. She manages to pay homage to her old self and bring back the sound that enraptured so many Little Monsters while showcasing the maturity she has gained as a songwriter and musician over the past decade and a half. A raw polylith of emotions — yearning, anger, joy, ecstasy — punctuated by screaming, growling, and the occasional ballad, MAYHEM not only stands true to its name but also to the brand of Gaga.

The authors can't wait to dress up in meat dresses for Halloween.