Album Review: “WOR$T GIRL IN AMERICA” by Slayyyter

By Grace Koennecke, Editor in Chief

Illustration courtesy of Taz Dutt

If anyone is making pop music more fun again, it’s Slayyyter. Raised in a suburb of St. Louis, MO, the singer has fully embraced her Midwestern roots on her latest album, “WOR$T GIRL IN AMERICA.” 

A chaotically colorful range of emotions and feverish bangers, this album has become one of the most highly anticipated releases of the year thus far after its wildly successful singles, which, for most chronically online people like me, are known as “CRANK,” and the techno-inspired “DANCE...”.

From these two singles alone, it was clear that Slayyyter was branching out into new territory, mixing elements of pop, rap, and even metal into her sound, which she’s grown a following with. “CRANK” has become an instant staple for the singer, and I would argue it is a song she will be known for for the rest of her career, with its catchy hook and memorable production.

This album is interesting as it’s Slayyyter in her fullest form, despite being her third album. It touches on the female experience in a way that is thrilling and unapologetic, while also incorporating musical interpretations reminiscent of iconic pop singers like Lady Gaga and Kesha. It is also an album that feels correct to come out following major pop releases like Charli xcx’s “BRAT” and “MAYHEM” by Lady Gaga, as it possesses the same sentiment of putting your most authentic and imperfect version of yourself on display. 

The title of the album represents the singer’s refusal to be polished, especially in a time when women’s rights and autonomy are being tested. After admitting her last album was not what she wanted it to be in a recent interview with “Billboard,” Slayyyter wanted this album to be an honest reflection of herself, embracing the darker, messier parts. I always value this approach in an artist since it’s refreshing to see a woman create an open and inclusive dialogue between herself and her listeners, allowing for honesty to be normalized in a society that doesn’t love the idea of a woman talking about the issues that are beneath the surface of fame.

The opening track, “DANCE…”, instantly creates a world that allows Slayyyter to let go and quite literally let the music take over. I haven’t heard an intro to a pop song this good in quite some time, as its build-up explodes into a techo-pop song all about freeing yourself from past relationships and not letting someone’s opinion dictate your happiness. The song is cunning and cutthroat, especially with a chorus like, “I kinda hate you, but / It doesn't matter, let me dance / You seem so miserable / It doesn't matter, let me dance / Feel it in my bones, written in blood (Blood) / I don't need you, I don't need anyone (Blood).” It’s a great opening track since it sets the precedent that establishing freedom for yourself leads to a greater sense of happiness and satisfaction instead of holding onto toxic people and memories.

Another track I absolutely love is “BEAT UP CHANEL$.” This song is all about wanting to be messy and wild: “Sex, money, drugs, chains on my chest, vintage Celine / Diamond grills, champagne bottles, I get for free / I want sex, money, bitches, and the stickiest weed.” It’s a dance track you would hear in a sticky, humid club, and it’s really the embodiment of Slayyyter’s stage persona.

“OLD TECHNOLOGY” sounds like something Britney Spears would’ve released in the mid-2000s. On first listen, it reminded me of that era because of Slayyyter’s vocal delivery and production, using sounds that imitate the user experience of owning an iPod. With heavy synths and autotune, the singer is nostalgic for her younger self, wanting to act recklessly. Much of the song is her making several nods to the early to mid-2000s, “You heard the song straight, straight off my iPod / Straight off the Tumblr blog,” as well as her desire to return to simpler times when the goal of making music was not for commercial success. 

You can’t talk about this album without mentioning “CRANK,” which is arguably one of the most high-energy and, of course, loudest tracks. This song is so different from any other pop song out there from this past year because it’s so vicious. Slayyyter screams at the top of her lungs through most of the song, with the overall listening experience quite an exhausting one by the end of it, given how much energy it emits. There are also some amazing lines in this song, proving Slayyyter’s lyrical abilities are at her strongest, as well as her funniest. “I get so gay off that tequila” is definitely one of the most unforgettable lines after each listen.

One song that holds more emotional weight than some of the other tracks on “WOR$T GIRL IN AMERICA” is “GAS STATION.” Seemingly hinting at a failed relationship, the singer takes a more vulnerable approach with this track and admits to wishing her love life were not in disarray. I love lines like, “So sad to say we're living separate lives, yeah / Time is passin' me by, but I can't delete you out” and “I loved you more than anything / And, yes, I made mistakes / But you know I would do anything / To put a smile on your face.” I think this song is an excellent example that this album is not just all about partying and being reckless, but also about navigating pain and heartbreak.

While I do think some of the album loses its momentum in the latter half, there are still some standouts. “YES GODDD” and “OLD FLING$” are songs that experiment with Slayyyter’s sound, with the first track taking on a grungier rock tone. There’s clearly a metal influence in this song as well, as Slayyyter’s shouts are backed by electric guitar and distorted vocal effects. I think it is an interesting combination of genres, and I haven’t witnessed many pop singers tapping into an edgier aesthetic quite like Slayyyter. 

Meanwhile, “OLD FLING$” contains the structure of a typical pop song, but the singer also admits to the insecurities she feels around other women, particularly focusing on how she compares herself to her current partner’s past lovers. However, the singer admits to feeling bitter and jealous, which is clearly reflected in some vicious lyrics: “Texted him, "Sorry," said you didn't mean to bother none / Show face at his own party like it's a coincidence / I see you seethin', he's not leavin' here with you tonight / That shitty poetry only made you the pick-me type.”

I think it’s an honest moment on the album that shows how Slayyyter has had the same thoughts that most girls have had when they feel insecure or unworthy, and her admittance of this ties into the album’s overall theme of embracing your flaws and low moments while also celebrating your womanhood.

Overall, “WOR$T GIRL IN AMERICA” is quite an impressive release for Slayyyter so far, in comparison to her last two albums, and shows her growth as an artist and strengthens her position in mainstream pop. It’s wild, free, and unapologetic, making the listening experience enjoyable and memorable.

If you’re looking for an album that can jolt you onto the dance floor in seconds, then I’d highly suggest you check this one out as summer grows closer.