[1] Later that year, he collaborated with the musician Mechatok on Good Luck,[2] an album that delved into electronic dance music.

[4] The Fool scales back and softens the sound of Good Luck and incorporates trap drums into its songs.

[3][4] Nicolaus Li of Hypebeast described the album's instrumentals as "frenetic", and that they are "dominated by tittering hi-hats and bouncing bass hits."

[6][8] The album presents layered[3] Auto-Tuned[5] vocals with lyrics that explore themes of love,[5][7] illusions, and existentialism,[5] and plays with spiritual references.

[6] Günseli Yalcinkaya of Dazed wrote that the album "trades in the transcendental maximalism of [his] previous releases for a more pared back approach", calling the sound "unmistakably Bladee" and the lyrics "introspective".

[5] For Pitchfork, Smith wrote that Bladee "meld[s] the lyrical tropes and trap drums of American rap, the emotions and ethereality of European dance music, and the experimentation of pop’s new international vanguard.

"[3] Salvatore Maicki of The Fader wrote that during the album, Bladee's fears, infatuations, trials, and tribulations hide in plain sight.

Massimo Tarridas of The Miscellany News wrote that it changed from "mall-obsessed conspicuous consumption" to "confessing sin and searching for places beyond lust and temptations of love.

[3] The instrumental of "Hotel Breakfast" was compared to the music in an Animal Crossing game due to its "camera shutter sound effects and dinky keyboards."

[4] Writing for The Miscellany News, Tarridas complimented the album's pacing and wrote that "It’s clear there was a lot of care put into the structure of each track".