On October 30, 2020, Ariana Grande released her highly-anticipated sixth studio album entitled “Positions”. She surprisingly forgoed her typical drawn out release cycle and instead publicized the sole single mere days before the album launch. The record features fourteen tracks, all with unique melodies and captivating lyrics.

To further promote this endeavor, Ariana Grande recently announced a deluxe version of “Positions” that includes five bonus tracks: three songs, an interlude, and a remix of a previous song that spotlights two other famous artists.

“Positions (Deluxe)” was ultimately released on February 19, 2021. Here is a review of the album where I delve into (almost) every track and provide my overall thoughts:

The record opens with “shut up,” a symphonic ode where Grande croons about how the media inevitably portrays itself as ignorant by excessively covering celebrity gossip. The thematic transition between her previous era and this one coupled with the intense production that features violins among other instruments makes this the perfect opener to a project like this.

“34+35,” a single that was selected after the initial release of “Positions,” is a scandalous take on Grande’s love life, where she confidently explores her desire to take her relationships less seriously. It was followed up with a remix on the deluxe version, which highlighted the likes of Doja Cat and Megan Thee Stallion–in my opinion, this version is significantly better than the original.

To continue, “motive (ft. Doja Cat)” and “just like magic” offer fun dance tunes that are a perfect balance of simplicity and allure. It is not until “off the table (ft. The Weeknd)” that Grande shifts her perspective to be more sincere and reflective. This track invites listeners to explore her past psyche, especially when it was bruised from previous relationships. “safety net (ft. Ty Dolla $ign)” takes a similar approach as it removes Grande from her rhapsody and places her in a very real setting where she is forced to weigh the benefits and pitfalls of risking stable emotional health for the possibility of love.

I find that “six thirty” is largely a filler song, placed there solely because the album required more content. “west side” gives off an alike impression. Generally, these tunes are forgettable and are in no way lyrically profound.

“my hair” and “love language” are some of my favorite bops from the album. They combine magnetism with intricacy in both the production and vocal aspects. One of my favorite sections of the entire project is the final chorus of “my hair,” where Grande uses her whistle register to enamor listeners.

A unique beat, poetic lyrics, a bold chorus — “positions,” the first single from this era, is pop perfection. A music video also dropped at the time of release; in it, Grande introduces not-so-subtle disses at former president Trump as she fictitiously assumes the position of the United States commander-in-chief.

The original album concluded with “pov,” my personal favorite. It is a power ballad where Grande contemplates the love she receives from others versus the appreciation she feels for herself. Fans have speculated that a music video for “pov” is coming in the next few weeks.

“someone like u (interlude)” is my favorite of the deluxe tracks, despite it being the shortest (it only lasts for one minute and sixteen seconds). The touching message along with the melodic harmonies and soft vocals makes me want to hear a full version of this song, rather than just an interlude.

“test drive” offers a sonic counter to “someone like u (interlude)”; it is much more upbeat and direct and bears semblance to the likes of “34+35”. “worst behavior” and “main thing,” the final two bonus tracks, are not as strong as their counterparts. They sound more generic since they lack a sense of complexity and enigma.

Overall, I think the first “positions” album from October was a much needed refresher from the horrors that faced the real world. Though it is not as coherent as her other projects (like “thank u, next,” “Dangerous Woman,” or “My Everything,” to name a few), it included a plethora of fun distractions. It was also evident that Grande herself was enjoying the process rather than writing from a state of pain.

With that being said, I am not convinced that the deluxe edition was necessary. In fact, I believe that Grande should have simply replaced “34+35” with the remix, added “somelike like u (interlude)” to the first tracklist, and scrapped the remainder of the songs.