Gaga booked Rick Rubin's Shangri-La in Malibu, brought in three producers who do not share a house style, and let them collide. MAYHEM arrived on March 7, 2025 through Streamline and Interscope, her sixth solo album and her eighth overall.

Andrew Watt, Cirkut and Gesaffelstein all leave fingerprints on it. Synth-pop anchors the record, industrial dance grinds against it, and electro, disco, funk and rock keep surfacing across the sequence. Watt and Cirkut shape hooks built for radio; Gesaffelstein drags the textures toward hard machine noise. Genres blur by design, and the tracklist rarely stays in one lane for more than a song.

Gaga writes about love, chaos, fame, identity and desire, reaching again and again for transformation, duality and excess. The era built around the album matched that register: dark avant-garde styling, gothic lines crossed with cyberpunk hardware, a visual argument running parallel to the production.

It suits listeners who want her at her most machine-driven with the pop instincts left intact. If you came to Gaga through the club records and stayed for the songcraft, this sits squarely in that lane. Play it loud.