Doja Cat has followed a rare, strictly upward trajectory career since her debut with viral single “Mooo!” and wacky “Go To Town,” off 2018 debut Amala. On her third album, she launches herself into unexplored galaxies above, creating the world of Planet Her. She channels the vibrant energy and various vocal deliveries found on her previous efforts while also doubling down on aesthetics and themes. The album is supported by several A-list collaborations, elaborate big-budget videos and a more eclectic style. Unfortunately, despite the production, the project doesn’t hit as hard as her previous albums, particularly 2019’s Hot Pink.

She opens with “Woman” and from the beginning beats, it’s clear the sounds and styles of Planet Her are much more expansive than we’ve heard from Doja Cat before. An Afro-pop beat begins the very feminine, snarky track with lines like, “I mean I could be the leader, head of all the states,” or “I could be the CEO, just a like a Robyn Fenty.”

“Naked” follows and is much more poppy, with a snapping chorus that unfortunately feels like life was never actually breathed into it. “When can we talk off all our clothes?” she asks, repeatedly through the chorus. For the rapper and singer whose lyrics and delivery are often jarringly and sexually graphic, this feels safe and cookie-cutter.

“Get Into It (Yuh),” gives off more of the energy Doja Cat emulated on her previous releases with a snappy beat, changes in her vocal style and intonations in delivery. She gives a shoutout to Nicki Minaj (who was featured on her “Say So” remix that propelled the song to No. 1; a first for both rappers) saying, “Thank you Nicki, I love you/ Got that big rocket launcher.” It’s a reference to Minaj’s “Massive Attack.” For those who vibed with “Juicy” or “Cyber Sex” from her previous albums, this is where you’ll find that energy.

There are several collaborations, mostly from singers with a similar or even more influential presence in today’s industry than Doja Cat. There’s nothing wrong with this, except that several tracks feel contrived and unnecessary. “Payday,” featuring Young Thug, has a sharper track and higher energy that helps make it one of the better features. Her duet with The Weeknd on “You Right” is unfortunately just all right, failing to conjure the energy of her duets with Smino or Gucci Mane. The lackluster music and chorus don’t elevate the song to the potential its collaborators have previously proven themselves capable of.

There’s also “I Don’t Do Drugs” with Ariana Grande, the duo’s third collaboration within the last eight months. Though their voices sound much more fluid than on Doja Cat’s feature on “Motive” or on the remix of “34+35” (both from Grande’s Positions) it’s generally forgettable. The track fails to feel necessary and, once again, like labels are pushing for the biggest names in pop music to rack up Billboard Top 10s as quickly as possible.

But “Options” with JID is another highlight. Over a beat infused with blaring sirens, Doja Cat changes switches up her singing, finally showing off the talent she holds with vocal diversity and delivery. “Yeah, I see you flossin’, you know it/ Droppin’ your jaw when the drawers hit the floor,” she raps at the end of her verse. This is the kind of lyrical pairing that would’ve done well strewn throughout the rest of the album.

“Aint Shit” follows and features some good Doja Cat rap couplets as well. “Said that’s not cheating if I wasn’t with your ass, yo/ You kept secrets and your cousin told me that, so (Your cousin)/ Logical thinkin’ is just something that you lack, so/ What you even mad for? Lookin’ like a stick up in your asshole,” she raps. Reciting her lyrics never does them justice, it’s in how she rhymes and delivers seemingly very different words that makes her so fun.

The album concludes with “Kiss Me More” featuring SZA. It’s the album’s lead single and is actually the best song here. SZA—who has proven time and time again that she elevates any track she’s featured on—sings the bridge. The duo’s voices and styles blend, feeling authentic, like musicians actually working together. The music video is a great deal of fun too, poking fun at mankind and masculinity, effectively creating an alien-like world for Doja Cat to thrive in. And it’s too bad the rest of Planet Her doesn’t feel quite as otherworldly as this does.

Follow Domenic Strazzabosco at Twitter.com/domenicstrazz and Instagram.com/domenicstrazz.