The "WOR$T GIRL IN AMERICA" drops one of the best albums of the year
Cover art for WOR$T GIRL IN AMERICA
This year has been game changing for electronic pop music. Stellar releases from Charli xcx, underscores, fcukers, and many other names that are revolutionizing the modern music scene have been blaring from house parties and car speakers nonstop; more than likely, the music’s probably loud enough to blow the speakers out. However, the end of March highlighted what’s likely the most anticipated release in the genre this year: Slayyyter’s third studio record, WOR$T GIRL IN AMERICA.
WOR$T GIRL IN AMERICA began its rollout back in August 2025 with the release of “BEAT UP CHANEL$.” When this song dropped, there was a clear shift in the air that indicated something big was coming. “BEAT UP CHANEL$” is a perfect song. The masterful construction of all its elements function so purely because of how quintessentially Slayyyter they feel. She opens the song with these lines: “Money, drugs, chains on my chest, that vintage Celine / Diamond grills, champagne bottles, swagger I bleed / I want sex, money bitches, and the stickiest weed / I want a cigarette, bad.” Slayyyter is immediately as messy as she possibly can be, and she doesn’t relent for every minute of the track’s run-time. The production of the song is gritty and shrill; a nasty bassline littered with distortion takes the lead that leaves you with no choice but to bump your head and go crazy. Between the verse and the chorus, “BEAT UP CHANEL$” bounces between a loud club-esque performance on the chorus and a more rich, sultry essence in the post-chorus and verses. Before we officially knew of her self-declaration, Slayyyter made it infinitely clear with “BEAT UP CHANEL$” that there was no one better at being the WOR$T than she is.
Slayyyter continued to deliver a generational run of singles while preparing for the album, and each intricately finds its home throughout the first half of WOR$T GIRL IN AMERICA. The record excellently opens with “DANCE…”. The track slowly opens and unravels within itself like the beginning of a night out at the club. The production is murky, sexy, and dark; it sounds like strobe lights, dim lighting, and the strongest Dirty Shirley (likely from a gay bar). Slayyyter also glides through the most stunning parts of her vocal register within the track, as she digs deep in her rich and lower tone while also gently gliding through her head voice in the chorus. The breakdown in the bridge is also incredibly enticing. While it’s pretty obvious that a song titled “DANCE…” would want to make you bust a move, the elation of the track makes you lose your body completely within the music. I can’t possibly imagine a greater start to the record.
The album transitions into “CANNIBALISM!”; the production and vocals in the verses are luscious, playful, and alluring in a way that feels addictive. However, the song goes full throttle in the pre-chorus. Electric guitar and screaming vocals from Slayyyer make you lose your mind before it melts back down into the chorus. Slayyyter isn’t afraid to be provocative in the lyricism, either; she sings “He kisses me, it feels like cannibalism / Stone-cold, I take what he’s giving / Mr. DJ making moves for a living / Wish he’d chat me up, he got permission.” “CANNIBALISM!” is instantly a classic as soon as you listen to it, and it leaves you desperately craving for more.
The album only grows further unhinged as it approaches “CRANK.” “CRANK” is an emotional experience that transcends anything I could possibly attempt to write about it. It sounds exactly like the best night of your life that’s going to shape up into the worst morning of all time. It’s trashy, messy, and vulgar in every regard. Slayyyter shouts how “I stay straight, I stay bad, I keep my finger on the trigger / I’m so wet, my hoes mad, if I get drunk, might have to ring her / She pick up, then we fuck, I get so gay off that Tequila / I need some dick for Tuesday, let me go put out some feelers.” The production only elevates the energy the “CRANK” capitalizes on; the vocals are so loud and the bass is so rich that even at its lowest volume, the track sounds like it’s completely messed up the quality of your speakers. It gets as close to be obnoxiously loud without ever sounding grating whatsoever, which cements its identity as the ultimate party song that leaves you no choice other than to CRANK IT!
“GAS STATION” slows down the record for just a moment and allows it to take a deep breath after an intense surge of energy within the last few tracks. The production is spacious and isolated while paired with ruminative lyrics that express Slayyyter’s deep desperation of wanting to be enough for someone yet still being left behind. This track is full of intricate production, fluttering electronic sparks, and wavering synths that don’t fall out of tone with the rest of the album while still conveying significantly more somber emotions than the rest of the album. It’s a great change of pace and an excellent sonic field that really helps to flesh out the album.
However, the dynamics sway fully into the realms of the dark and distorted with “YES GODDD.” This song leans into the rock and industrial influence heavily, with electric guitars and metallic noise imbuing itself deeply within the dance-centric base of the track. It’s clear how much fun Slayyyter has on this song. Her vocals shine through significantly. Throughout the track, she showcases sensual singing, acts through spoken word parts of the song, and straight up screams with hellish ferocity in the chorus of the song. The electronic influence also drives this song home for a stellar finish. The concluding dance beat drop alongside the heavier instrumental elements is absolutely euphoric. The breakdown at the end of the track releases some of its grasp on the industrials and leans deeper into the house and EDM instrumentals for a drop that somehow feels even crazier than the one from before. “YES GODDD” hits all tens for production, performance, writing, and execution, marking it as an undeniable highlight at the perfect place in the tracklist.
Outside of her party persona on WOR$T GIRL IN AMERICA, Slayyyter takes some time to be a little lovey-dovey on “UNKNOWN LOVERZ.” The song is an addicting pop track; the soft, smooth synth pop production alongside Slayyyter’s tender voice makes the song feel exactly like a crush you probably shouldn’t have. It’s a refreshing and delightful track that never fails to resonate with the foolish side of the heart.
“I’M ACTUALLY KINDA FAMOUS” finds a good middle ground between the softer pop sound and the heavier instrumentals throughout the album. The synths feel more edgy with a little bit of a lighter beat drop. The lyrics and Slayyyter’s delivery feel like exactly what vibe the album’s going for. She ends the song with this iconic outro: “I didn’t step off the train tonight to get mean-mugged in the club by some ugly bitches / You and your little Chanel bag / Did daddy buy you that for Christmas? / That’s real nice / Oh, she knows the DJ.” Slayyyer takes on the WOR$T GIRL persona so powerfully in this track, and it just works so well.
As the album wraps up, she leans fully back into industrial aesthetics for the awe-striking “$T. LOSER.” It’s noisy as hell, and Slayyyter’s not afraid to the most pissed off she’s been for the entire album. The metallic beat is captivating and pairs excellently with the distortion of the guitar and electronic noises that all come together. As the song breaks down at the end, Slayyyer absolutely kills her high notes as the instrument opens up a little bit from the mechanics it relied on before. Slayyyter also calls back to “BEAT UP CHANEL$” with a short motif of melody and lyrics that just scratches the brain so perfectly and further unifies the record in its already impressive cohesion.
“BRITTANY MURPHY” is the very definition of what a closer to an album should be. The song is fun and reflective. Slayyyter ruminates over the very foundation of what it means to be the WOR$T GIRL IN AMERICA and the consequences of being unapologetically messy. The song leans into a deep indie pop sound that separates itself from the record while still clinging onto electronic chaos the rest of the album thrives within. Slayyyter’s introspection and guilt within the song come through powerfully in the lyrics: “Father, please forgive me for all my actions / Found the box that I tried to hide my past in, yeah / Help myself to these filthy little habits / Stumble, asking the bouncer, “Where’s my jacket?” / Do you notice all I’ve done?”
Undeniably, Slayyyter is noticed for everything she’s done to create the experience of WOR$T GIRL IN AMERICA. Everything from the visuals to the sound to the persona of the record are nothing short of fantastic, and her creative growth from her former projects is truly commendable. It’s a must listen to record that already has unabashedly solidified its contention for album of the year.
THE WOR$T GIRL IN AMERICA is coming for domination on tour this upcoming fall, with concerts worldwide in cities like Nashville, Berlin, San Francisco, and more. You can check out the full dates and get ready to CRANK IT here.