Electronic pop artist Slayyyter released her newest dance electronic record, “WOR$T GIRL IN AMERICA,” on Friday, March 27. The project is her first one signed to Columbia Records, following two albums and one mixtape released as an independent artist.
“WOR$T GIRL IN AMERICA” draws on Slayyyter’s roots growing up in St. Louis, bringing grungy teenage angst to her typical structured pop elements.
In an interview with Billboard Magazine, Slayyyter said the creation of the album was a last-ditch effort to reach artistic fulfillment.
“The biggest mantra I had going into the studio was, ‘If I die tomorrow, would this be a song I’d be proud of or think was cool, or would it be a song that if people put it on at a party, I’d be embarrassed about?’” Slayyyter said. “I really felt hopeless, so I think all of this music came from a place of wanting to make a project that fulfilled me.”
This mediated endeavor has resulted in arguably the most polished and ultimate form for Slayyyter. “WOR$T GIRL IN AMERICA” is bright and boisterous, with hints of emotional depth and vulnerability.
“CRANK” and “BEAT UP CHANEL$” epitomize this mayhem. “CRANK” represents the chaos of a night out, with a yelling talk-sing chorus singing about turning up the music, drug and alcohol use and sexual expression. “BEAT UP CHANEL$” is just as upbeat, with Slayyyter longing for new control over her life through materialism, as she sings, “I want beat-up Chanels, I want new personnel / I want to dye my hair every pretty shade of pastel.”
Slayyyter’s sensitivity is most present on “GAS STATION” and “UNKNOWN LOVERZ,” where she confronts her fears in romantic relationships. “GAS STATION” reflects on the fallout of a toxic connection, while “UNKNOWN LOVERZ” shows Slayyyter still struggling to hold onto her partner, with lyrics like, “The more that I chase him, the faster he runs.”
The interlude “*PRAYER*” is the most self-reflective, as Slayyyter recites the ending portion of the Prayer of Saint Francis — a Christian prayer that focuses on inner transformation through sacrifice and service.
Amid these emotional highs and lows are elevated dance tracks. The opening song, “DANCE…,” sets the mood with an extended, minute-long instrumental intro. “OLD TECHNOLOGY” continues with another sleek, upbeat and immersive techno hit.
My one critique of the album is that it feels very front-loaded. The first five tracks on “WOR$T GIRL IN AMERICA” are the same five singles that were released ahead of the album, which leaves the listener reaching the expected peaks within the first 20 minutes with nowhere to go.
Additionally, some songs feel like reductive B-side tracks, like “I’M ACTUALLY KINDA FAMOUS,” which is primarily spoken-word over a dance beat.
At large, “WOR$T GIRL IN AMERICA” delivers a perfect vision of dirt, grime and polish. It is an excellent electronic dance record, and I am excited for what Slayyyter delivers in the future.
