Doja Cat – Vie
Doja Cat has always been one to shake up the pop world, and with her fifth studio album “Vie” she once again delivers a surprising twist in her constantly evolving career. Following last year’s gritty, rap-oriented “Scarlet”, the Los Angeles artist returns to the polish of her earlier, commercially successful work, with an album steeped in ’80s pop, synth-funk, and R&B. The French title “Vie” (Life) and the accompanying aesthetic, complete with Grace Jones-esque looks, already hinted at a thematic and musical focus, and that promise is partially fulfilled, albeit with an unavoidable critical caveat.
The production, largely overseen by Jack Antonoff, is unmistakably retro, full of shimmering synths and dancefloor rhythms that create a strong nostalgic atmosphere. The album opener, “Cards”, immediately sets the tone with its slick, electro-funk groove and Doja Cat’s confident flow about fully exploiting one’s assets. The previously released single “Jealous Type” is a clear highlight, a savvy throwback banger that effortlessly swings between a light, almost angelic chorus and Doja’s dramatic, cutting rap lyrics about jealousy and insecurity. It is the kind of polished pop that proves she still masters the formula.
Yet, the real Doja Cat, the ‘master agitator’ who critiques her own hits, resides in the smaller, rougher moments. “AAAHH MEN!”, for instance, is an ingenious, over-the-top banger that samples the “Knight Rider” theme song, serving as the perfect vehicle for her most brazen and humorous rap verses. This is where her unpredictable personality truly shines through.
However, as the album progresses, the songs start to feel a bit “samey”. The ’80s sound is consistent, but the melodies and choruses often lack the impact of earlier hits, causing the tracks in the mid-section to blend into each other. Tracks like “Couples Therapy” and “All Mine” delve deeper into the themes of love, relationship issues, and possessiveness, but the musical setting is sometimes too soft and anonymous, weakening the lyrical sharpness. The collaboration with SZA on “Take Me Dancing” is playful and charming, but lacks the immediate ‘showstopper’ quality one would expect from such a duo.
What “Vie” defines is the return to Pop-Doja. She sings more than before, and her voice is, while not overwhelming, pleasant and versatile. It is a safe, perhaps even label-enforced, step back towards mainstream success, following her foray into pure rap. The project is thematically and musically coherent, but it leans too often towards generic, albeit competent, pop. “Vie” is a colourful, Jack Antonoff-produced homage to a bygone era, but the artist we know for her unique ‘punch’ sometimes gets lost in the glossy retro-production. It is a good album, but it lacks the spark and unpredictable chaos that made her best work so captivating. (8/10) (RCA)
