Mayhem – Lady Gaga
“Mayhem” rides the wave of the current ’80s dance revival trend. While the production on this album is grand, slick, and clear, it feels like Lady Gaga doesn’t match its style.
Songs like “Abracadabra” and “Garden of Eden” showcase her ability to construct atmospheric and boundary-pushing dance songs. “Abracadabra” specifically has a staggered and fun hook and chorus. The production pushes the ’80s revival aesthetic into more experimental territory as well. “Garden of Eden” doesn’t focus as much on experimenting but is instead an enjoyable, classically styled Lady Gaga song with some catchy hooks and a fun chorus.
The rest of the album is pretty basic. The songs on this project feel like they drag on too long, and the 53-minute runtime felt like a chore to get through. There are moments of brilliance, reminiscent of classic Lady Gaga, but they’re scattered far and thin. There are a few other songs that hit the mark, but the second half of the album is pretty generic.
I’m slightly disappointed with this project. I really thought it would have been more like the single “Abracadabra,” but instead, it felt more generic and bloated. There are moments of artistic pop brilliance, reminiscent of “The Fame Monster,” but they’re dragged down by forgettable songs and lackluster performances from Gaga. The production is bold, beautiful, and sexy, but it often feels out of tune with Gaga’s delivery.
So Close to What – Tate McRae
Tate McRae’s So Close to What is a muddled project, with good ideas that are never fully realized. She is the latest internet pop star to gain mainstream attention, blending elements from contemporary pop artists like Billie Eilish with the internet-influenced R&B style of Charli XCX.
The best thing about this album is the production and hooks. Tate McRae has a decent groundwork for catchy hooks and choruses, but it’s never enough to warrant a revisit. The production is crisp, clean, and standard for a 2025 record but also doesn’t differentiate itself from current pop artists. Her singing is good, but she never does anything uniquely special with her voice to stand out.
At this point, McRae is more of a performer. It’s evident that her skill set is more focused on choreography and dancing rather than musical ability. She’s built a core audience around her stage presence, and despite this album being bland and generic, there are traces of effort and ability that she can work from. This album is a decent groundwork for her future career—not something I’m going to come back to.
DeBÍ TiRAR MáS FOToS – Bad Bunny
Bad Bunny has occupied the same Latin trap and dance sphere for almost a decade now. Despite his signature and polished pop sound, he has flirted with different ideas and genres before. His past album Un verano sin ti was his first try at dipping his toe in uncharted waters, experimenting with ragaton and other Latin styles. “DeBÍ TiRAR MáS FOToS” completely reinvents Bad Bunny’s sound with a beautiful love letter to Puerto Rican and Latin culture.
My favorite songs on this album are the first three. “Nuevenol” uses an old sample that opens the album up perfectly, while giving it a more soulful feel. Bad Bunny’s performance on here sets the tone of the album with a grand and bold delivery. VOY A LLeVARTE PA PR is another short, but sweet song with some fun hooks and catchy inflections. BAILE INoLVIDABLE Is by far the best song on the album. There is so much energy and passion put into this song. At six minutes there’s not a single second that’s wasted.
The rest of the album is more in bad bunny’s comfort zone, with more pop oriented dance songs also infusing hip hop elements. The production is good and bad bunny delivers good performances, but these are definitely the low to mid points of the album.
The more Latin inspired songs pick up again at Turista, which is a beautiful ballad with only a guitar and a heartfelt performance from bad bunny. From here, the album ends with other future classics like DtMF and la mudanza.
I was very impressed and captivated by this album. Although the middle of the album is slightly disjointed, the rest of the album shines bright enough to overshadow it. It’s obvious bad bunny genuinely cares about his culture, and it’s seamlessly communicated on this album. This is his most ambitious project, and a fun, rich, and passionate dance, Latin album.