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Doja Cat’s signature blend of pop, rap, and R&B on chart-dominating albums such as “Hot Pink,” “Planet Her,” and “Scarlett,” has redefined what it means to be both a rapper and a popstar. The musician’s latest record, “Vie,” takes a U-turn away from the raw-rap experimentation of “Scarlett” and toward the pop-rap fusion she popularized years ago, with smash hits like “Say So.”

While “Vie” is a formidable attempt by Doja Cat to return to her iconic sound, the record as a whole feels more confined and less ambitious than her previous three albums. “Vie” is an irrefutably solid record, but the album’s lack of sonic deviation also exposes the hindrance of making pop music in isolation.

Doja Cat is the sole writer of every song on “Vie.” This feat alone separates her from her peers — such as Cardi B, Nicki Minaj, and Megan Thee Stallion — as she is the first female rapper in her generation of music to solo-write an entire record. Her choice to do so is palpable in the music; the raw, interpersonal lyrics are matched by sonically intimate moments on the record, such as the first track, “Cards,” when she leans into the idiosyncratic raspiness of her vocals. Aptly naming the album “Vie” — French for “life” — Doja Cat seems determined to be the singular writer of her story.

While Doja Cat being the sole writer on “Vie” certainly sends a strong message about her artistic autonomy, it may also be the very reason why the album is underperforming. As strong as some of the songs on “Vie” are, the record’s weakness is found in the album’s overall arc. Unfortunately, the lack of writing collaboration becomes evident the further one listens through the tracklist.

B-side tracks on “Vie” such as “Come Back,” “Happy,” and “One More Time” blur together and prove to be forgettable even after multiple listens. Normally, no two Doja Cat songs sound quite the same; however, the overly-consistent 80s sound of “Vie” delivers tracks exempt from that claim.

Jack Antonoff, the executive producer of the album, may also be to blame for its repetitiveness — “Vie” is not the first album Antonoff has produced which has received criticism for being spacey and humdrum.

At the end of the day, Doja Cat is still an extraordinarily talented artist. While criticism of “Vie” as a full-length project may prevail, it is important to note that the record has several highlights. “Jealous Type,” the album’s lead single, is a masterclass in the Doja Cat formula, fusing pop and rap over an electrifying 80s synth beat. The sultry “Lipstain” is another strong contender. On this track, Doja Cat elects to rap the post-chorus in French, a clever choice in building the francophonic motif of the album. “Gorgeous” is another stand out track with an infectious hook, however it does bear striking resemblance to “Agora Hills,” a major hit on “Scarlett.” These songs are objectively well made, but they leave listeners wondering if Doja Cat is truly growing as an artist or simply playing it safe.

The largest flaw of “Vie” is that it doesn’t align with the narrative Doja Cat herself has projected for her career. In 2023, prior to the release of “Scarlett,” She posted a series of tweets bashing “Hot Pink” and “Planet Her” and calling them “cash grabs.” While these statements were met with public uproar, her artistry triumphed through the release of tremendously successful tracks on the project like “Paint The Town Red” and “Agora Hills.” In the case of “Vie,” Doja Cat seems to have changed her mind — yet again — and returned to making pop music.

The contradiction “Vie” makes is not inherently a problem. The issue lies in the way the record was promoted as an elevated version of her previous work. In a recent interview, Doja Cat alluded to this by saying that she now has “a lot more knowledge of how to use [her] voice as an instrument.” While this may very well be true, none of the songs on “Vie” reflect any massive vocal or sonic elevation from her previous pop efforts. If anything, the songs on the album sound more restricted, especially when compared to the experimental sounds of “Scarlett.” This, coupled with Doja Cat’s negative statements about “Hot Pink” and “Planet Her,” makes it harder to hear “Vie” as a project driven by genuine desire to grow artistically.

Ultimately, “Vie” is still a strong record — Doja Cat consistently proves that she is too skilled a musician to deliver anything truly sub-par. Even so, the record still feels like a step backward for her. If “Scarlett” was Doja Cat’s most audacious album, “Vie” is her most timid.