On “How Bad Do U Want Me,” Gaga ditches the dark pop premise of earlier Mayhem bangers and instead opts for sugary, ’80s-tinged synth-pop, singing from the perspective of the “bad girl” being loved by the guy with a proclivity for “good girls.” On an album that feels decidedly Gaga, “How Bad” feels like one of the only songs that doesn’t fit her vision, with lyrics and melodies that feel more in tune for an artist like Taylor Swift. Occasionally, this track’s uncomplicated pop mechanics offer something of a palette cleanser — but the ultimate result is still a song that pales in comparison to the rest of Mayhem.

Where “How Bad Do U Want Me” falls flat with its power-pop leanings, the funk-injected “Don’t Call Tonight” finds a little bit more life in its talkbox-assisted bridge, where Gaga delves just that little bit into something fresh on a song that otherwise feels strangely tame for Mother Monster. The pre-chorus and chorus seem primed to remind audiences of The Fame Monster standout “Alejandro” at each new turn of phrase — the problem is that “Alejandro” is just a much better song. Still, “Don’t Call Tonight” manages to pull itself up enough by the song’s end, as Gaga narrates how “your heart beats fast ’cause you’re in the zone/ And then you hear the phone.”

There’s something charming about “The Beast,” Gaga’s B-movie-esque psuedo-ballad that appears towards the end of Mayhem. Singing to her lover — who also is a werewolf in this particular scenario — the pop star’s voice growls with anticipation, making you wonder which person is really the beast in this scenario. The straight-laced, dramatic production ends up giving way to a gratuitous guitar solo that adds a little edge to this otherwise fine track.

Here’s the deal: “Die With a Smile” is a good song, no one here is denying that. Gaga’s powerful, soulful voice blends excellently with Bruno Mars’ energetic belt, and the result is an anthemic declaration of love that deserves its flowers as the standalone single that it is. But in the greater context of Mayhem, “Die With a Smile” feels like a bit more like an afterthought, or an epilogue on an album that takes bigger risks, employs bolder lyrics and embraces bedlam itself at every turn. If the idea is to put a nice, gentle period on the end of Mayhem’s chaotic run, the “Die” accomplishes its goal — we’re just not sure that the album needed it.

Something really hits different when Lady Gaga goes into arena rock mode. Embodying AOR bands like Boston and Foreigner, “LoveDrug” feels like a perfect transition song between Mayhem‘s front and back halves, bridging the gap between the twisted, dark imagery of the first seven songs and the more light-hearted, love-tinged fare of the last 6. It helps plenty that Gaga’s voice sounds excellent as she belts out the instantly-catchy chorus: “I just need a dose of the right stuff/ I just need a hit of your love drug.”

With the benefit of hindsight, it’s clear that “Disease” is a grower that needed time to worm its way into pop fans’ heads. On the first listen, the album opener’s blaring synths and glitching flourishes could feel harsh, much to the delight of some Little Monsters and the dismay of some others. But after listening through the entirety of Mayhem, “Disease” offers an apt introduction to the discord that is to come, as Gaga’s howling vocal proclaims that she’s got the cure for all your musical woes on this delirious pop banger.

Within Lady Gaga’s musical pantheon, there is a noticeable trend — on each of her albums, Gaga always offers at least one truly excellent, emotionally-resonant ballad. While “Die With a Smile” might make sense as Mayhem’s most obvious contender, it’s actually the gorgeous penultimate love song “Blade of Grass” that earns its place among classics like “Brown Eyes,” “Speechless” and “Million Reasons.” A tender ode to Gaga’s finacé Michael Polansky, “Blade of Grass” wears its utter sentimentality as a well-earned badge of honor, with the star’s powerful voice reminding everyone yet again that she is one of the most talented vocalists currently working. “Even though the church burned down,” she belts, “I’ll be your queen without a crown.”

“I’m gonna make you scream, that’s a matter of fact/ I’ll be your fantasy.” Through staccato breaths and arch vocals, Gaga transforms into her most confident self on the impossible-to-pin-down “Killah.” Equal parts funk rock and experimental dark techno, this deliciously theatrical song follows Gaga’s foray into becoming a literal and metaphorical man-eater. Just when you think Gaga has infused enough dizzying sexual energy into this grooving track, she taps in French DJ Gesaffelstein for a mind-bending electronic breakdown on the bridge, sending “Killah” into another dimension of its own.

Perhaps the most vocally impressive song on Mayhem is “Vanish Into You,” Gaga’s glam-rock offering of adoration. Inspired by icons like David Bowie, “Vanish” brings a glitzy finish to the frayed edges of Mayhem, complete with chunky guitars and four-on-the-floor rhythms that make you want to get up and dance. But its the harmonies Gaga creates with herself throughout the song’s heart-puncturing chorus that stand out most, as she utilizes every inch of her vocal range to tell her lover just how in love she truly is.

Sexism and misogyny have been dismayingly recurring themes throughout Gaga’s decades-spanning career, and on “Shadow of a Man,” she takes the men around her to task. Over glittering electropop synths and disco guitars, Gaga points to the imbalanced expectations for female artists who are expected to do twice as much work for half the reward. As she brings up the energy to a frenetic peak on the bulldozing chorus, Gaga declares that she’s done being “the one to fall on the knife” when she did nothing wrong. “Watch me, I swear I’ll dance in the shadow of a man,” she promises.

The beauty of “Abracadabra” lies in its ability to remind you of Gaga’s past triumphs — the nonsense words of “Bad Romance,” the grinding club beats of Artpop, the ballroom theatrics of Born This Way — while still retaining its own unique shape. Gaga’s not chasing any trends on this witchy single, as she instead opts for a pre-choruses, and a post-choruses, and a bridges and an outro throughout this manic, shapeshifting banger. Whatever spell Gaga cast on “Abracadabra,” it’s clearly working since we still haven’t stopped listening to it.

Where so much of the rest of Mayhem can feel dark and serious, “Zombieboy” provides a much-needed switch up with the campiest possible disco number that fans could have only hoped for. Groovy guitars and a clap-along drum beat accompany Gaga’s speak-sung vocals as she narrates the kind of night out that gets out of hand quickly. Embracing the inherent hedonism that fans flocked to her for back in 2008, Gaga rips up the script and has a blast on this one-of-a-kind jam.

What did you want from Mayhem? Gothic dark pop a la “Bloody Mary?” Maybe the bratty club kid vibes of “Money Honey?” How about the grinding electronica of “G.U.Y.?” May I introduce you to “Garden of Eden,” an eclectic, excellently-crafted mashup of all the sounds that have helped make Gaga the icon that she is. Heading right back to the club, “Garden of Eden” brings in flourishes from all across Gaga’s expansive career as the singer rushes into 2000s pop with reckless abandon, beckoning you to follow her. Call it a guarantee — by the time you arrive at the first post-chorus breakdown of “I’ll t-t-take you to the Garden of Eden,” you’ll be hooked by this A+ pop gem.

At the 2009 MTV VMAs, Lady Gaga ripped herself to pieces in front of a shell-shocked audience of industry professionals. Her abdomen spouted fake blood that wound up dotted on her eyeball as she strung herself up as a sacrificial lamb on the alter of the music industry. She was singing her breakout hit “Paparazzi,” but she was paving the way for another all-time great song to join her discography: “Perfect Celebrity.”

On Mayhem’s brooding fourth track, Gaga’s voice drips with venom as she rips not only into the industry, but into herself; she’s the one who wanted to be famous, after all. Over raging synths and her best rock sound to date (partially inspired by The Cure’s “Never Enough”), Gaga presents her newly minted pop persona to the audience through a biting, electro-grunge edge: “Sit in the front row, watch the princess die,” she sneers, before promising that if “you make me money, I’ll make you laugh.” She may claim that “you love to hate me,” but if “Perfect Celebrity” is any indication, there really isn’t much to hate on this glorious song.