HADES<\/em> dives headfirst into something darker \u2014 power, corruption, gender, religion, capitalism and the systems that shape life today. It\u2019s not about predicting a dystopian future, but examining destructive patterns that already exist. The result is a mythological lens turned toward very real societal fractures using a mythological lens.<\/p>\nThat vision is clear from the start. \u201cDISNEY PRINCESS\u201d opens with sweeping orchestration before breaking into a soft but punchy melody. The track critiques the commodification of women, with Martinez crooning, \u201cCan\u2019t quit the show\/ I\u2019ve signed the dotted line\/ And I\u2019ve fucked every devil,\u201d before the song dissolves into an ominous synth, setting an uneasy tone.<\/p>\n
Intro track \u201cGARBAGE\u201d begins with gunfire and a chaotic roar of a crowd layered over distorted instrumentation. It\u2019s intentionally overwhelming \u2014 a sonic representation of information overload and societal noise.<\/p>\n
\u201cWHITE BOY WITH A GUN\u201d takes a surprising turn, built around relaxed percussion and a dreamy bass line. The subdued production sharpens the lyrical critique, as Martinez calls out misogyny with dry, understated lines. Her soft delivery only makes the message cut deeper. \u201cPOSSESSION\u201d echoes that contrast, pairing mellow rhythms with darker textures, including faint church bells. Religious imagery continues on \u201cTHE VATICAN,\u201d one of the album\u2019s most striking tracks, where a haunting hymn blends into a synth-driven beat.<\/p>\n