Stream Lady Gaga’s Mayhem and more albums for New Music Friday

Lady Gaga’s Mayhem is a feast. It’s as if she took everything great about her music and pressed maximize — because everything is bigger, better, and yes, delightfully chaotic. Songs whip from dark techno and industrial funk to disco, grunge rock, campy horror-pop, and grand, eye-watering balladry, but there’s still cohesion. “Garden of Eden” is a dance-pop triumph, “Vanish Into You” makes me want to go out and belt it karaoke-style, and “Zombieboy” is disco perfection. But I’m most obsessed with “Killah,” the album’s funkiest and nastiest cut that feels the most out-of-character and thus the most satisfying. She created it with French producer Gesaffelstein, whom she says helped eke out a newfound sense of self-assurance. “It’s just peak confidence and I’m somebody that needs to fantasize about confidence to have it,” she told The FADER in a recent interview. That’s actually the vibe I get from all of the songs, suggesting a re-energized Gaga is back behind the studio boards. —Steffanee Wang

Hear it: Spotify | Apple Music

Loke Rahbek (who records as Croatian Armor) reunites with fellow Danes and former Lust For Youth collaborators Hannes Norrvide and Malthe Fischer on a new project inspired by the Voyager Golden Record, a mixtape sent into orbit by NASA in 1977. The heart of All Worlds may lie in future communications but its soul belongs to the annals of earthly club culture, with the trio touching on melancholic techno and sweet U.K. garage rhythms across a project that flies to euphoric highs on a cool breeze of air. Collaborations with YL Hoii and 3ndles5 (“Nowhere”) and Kate Durman (“Dummy”) expands their circle but the collaboration at the root of All Worlds is old friends recapturing their past and pushing each other in exciting new directions. — David Renshaw

Hear it: Spotify | Apple Music | Bandcamp

The new album from Raisa Khan a.k.a. Raisa K, member of the London-based experimental indie group Good Sad Happy Bad, collects the best kinds of jammy. Music that feels jammy comforting, like a perfectly boiled egg or sweet preserves spread generously on warm toast, but also jammy jammy, full of the spontaneous sketched-out joy of tossing random sounds and patches into samplers and tapping out strange, unforgettable melodies on a MIDI keyboard. This kind of creation places Affectionately firmly within the extended universe of Mica Levi, Khan’s bandmate in Good Sad Happy Bad, alongside projects from Tirzah. But whereas albums like Devotion and Colourgrade stripped down club and rap beats into ambling tracks, Affectionately creates its own outcropping of dub with Khan at the helm, her gentle conversational delivery belying the deep love, anxiety, and resilience poured across the album. — Jordan Darville

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Cooper Handy and Salvadore McNamara have been making unvarnished post-punk together since their early teens. Now in their early 30s, they’ve picked up plenty of new tricks and forged largely separate paths — Handy has been firing off solo mixtapes as LUCY for the past decade and, in more recent years, in tandem with Nick Atkinson (as Club Casualties), Augustus Muller (as Safe Mind), I.V., and Surf Gang, while McNamara’s projects include Prewn, Phenomena 256, and Kahoots — but their DIY ethos has remained stubbornly consistent. Nevertheless, 20247 is their cleanest, most self-contained album to date. Though its tracks were recorded midwinter in McNamara’s Massachusetts garage studio over the hum of a space heater, they present fully formed thoughts in lieu of the half-baked wryness that characterized their earlier work. Perhaps the five-year gap between their last full-length and the new record gave these ideas time to germinate before sprouting into full bloom in a matter of hours per song. “Sweet Guilt,” for instance, provides a poignant description of the baggage that comes with pleasures we think of as simple; “Grow Up” gives us sneakily pithy insight into both bandmembers’ childhoods in small Cape Cod towns; and “Shoot” is a short but detailed snapshot of a slurred party memory, from the manic high to the “tired, tired, exhausted” comedown. These tracks might come in small, roughly wrapped packages, but rather than kitschy curiosities, their contents are intricate, invaluable gifts. — Raphael Helfand

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The last member of BLACKPINK to release a solo album, JENNIE and her debut record Ruby is certainly not least. Its 15 songs sprawl out widely in terms of scope, with a rap section here, R&B corner there, and off-kilter pop songs filtered in between, intended to showcase the inner maze of who she really is. “Handlebars” with Dua Lipa rides an aqueous, rich melody that fits both of their voices, while “Love Hangover” with Dominic Fike is a coy little love song that feels cute and precarious. The guests on the album are ambitious (Kali Uchis, Childish Gambino, Doechii) and they mostly all pay off. After a few cycles through, the song I randomly find myself returning to is “Intro: JANE with FKJ,” the one where JENNIE’s voice is fractured and spliced so much that what she’s singing is virtually indecipherable. I guess for some reason, that remaining barrier of mystery does a lot to pique my interest. —SW

Hear it: Spotify | Apple Music