Drawing from her debaucherous midwestern youth and the tumblr era that raised her, Slayyyter is finally getting the flowers she deserves because she trusted her creativity. WOR$T GIRL IN AMERICA is Slayyyters fourth full length project, and is both more inspired and more authentic than she’s ever been.
Slayyyter was born Catherine Grace Garner in Kirkwood, Missouri, a suburb of St. Louis. She started making music at 22 and quickly gained underground recognition for songs she posted on Soundcloud. She eventually moved to LA to start her full-time career as a musician, making pop and hyperpop music.
She has made three full length projects before WGIA, all with obvious hopes of catapulting her into pop-star status. None did as she hoped though, and she finally came to the conclusion that trying to make a commercial success or appeasing her fans wasn’t working, and wasn’t worth it anymore.
The title WOR$T GIRL IN AMERICA is drawn from feeling like a random midwestern girl that was thrown into the often fake and harsh world of potential-pop-stardom. She felt like she didn’t fully belong, which is explored on the latter half of the album.
But of course, as soon as she broke away from the limitations of making a hit or appeasing her fans, she created the album that is getting her the most recognition of her career so far.
Glittering, dancing, and screaming over 13 tracks and one interlude, WOR$T GIRL IN AMERICA has the potential to be one of the best albums of the year; and a testament to creating what you want despite outward expectations and limitations.
Here is my track by track review of WOR$T GIRL IN AMERICA:
Track 1: DANCE…
Two things I love in a song is an intro, and a crescendo. This song has both. Her vocals are insane and bring me straight into the world she’s building. I’m sucked into a dark blue and purple club with a lame dude staring at me. The only qualm I have with the song is in the chorus: “I kinda hate you but, it doesn’t matter let me dance.” The beginning “I kinda hate you but,” is I feel weak songwriting, and doesn’t match the epic scene that is the production. 9/10
Track 2: BEAT UP CHANEL$
This was the first single of the album cycle, and it couldn’t have been a better start. It satisfyingly switches from a hard and fast verse production, into a sparkling and celebratory chorus and bridge instrumental. The fun and confident lyrics once again sweep you into the world of wanting more, craving the success and the physical possessions you’ve always dreamed of. She reminds us of her self proclaimed “cookie monster pajama pants girl” roots, where the most exciting achievement would be getting a beat up Chanel bag and some quality weed. 10/10
Track 3: CANNIBALISM!
The guitar riff centered in this song is an underrated highlight of the album. Her vocal performance is bouncy and unique, telling a story of an all consuming new love, with the good and overwhelming feelings that come along with it. Cheeky lyrics keep me singing along. 9/10
Track 4: OLD TECHNOLOGY
This song is super fun, but also one of the weaker songs on the album, because of the lyrics and the production during the hook. The computer generated guitar (which alludes to the title I guess) I find kind of flat and offputting. With that being said, I love the production on the pre-chorus and her overall vocal performance. 6/10
Track 5: CRANK
This was the third single from this album cycle, and was one of the main reasons the album gathered so much hype. The lyric “I get so gay off that tequila” became a meme even before the album came out. Its energy is infectious. Slayyyter has always been a bit ahead of the curve when it comes to hyperpop, and this industrial heavy production reflects what I think will be dominating the hyperpop space next. As @synfpunk said on twitter, “my biggest takeaway from the new Slayyyter is that the children yearn for electro-industrial” There’s nothing else to say except it’s perfect. 10/10
Track 6: GAS STATION
This is one of the two songs on the album that’s slow enough (by comparison) to sound like a ballad. It’s the first time she gets really emotional on the album, as she narrates the ending of a failed relationship. Slayyyter has stated in interviews that the chorus and song title is a reference to being left at a gas station by her dad when she was young. I think connecting a harmful romantic relationship with a traumatic event caused by her dad is really insightful and spotlights how people often look for relationships that reflect the ones they had with their parents, good or bad. The production is interesting and reminds me of the tumblr era she’s embracing. 9/10
Track 7: YES GODDD
This is by far the loudest track on the album, and Slayyyter gives the screamo performance of her life. It’s both atmospheric and guttural. At some point she starts melodically rapping over a trap-like beat, and then transitions back into screaming. The collage of her different vocal performances is not only impressive but creatively brilliant. The last 45 seconds of the song is another acid trip amalgamation of different beats and vocal cuts of Slayyyter. This song is a full body experience. My only suggestion would be to have the screaming hook stand out a bit more from the unforgiving beat, because her voice somewhat disappears into it, but that’s just a mixing and mastering issue. It’s still a 10/10
Track 8: UNKNOWN LOVERZ
This is a welcome break from the rollercoaster of previous head-bangers and the other ballad-by-comparison; a soft sweet love song. Maybe the love is a little toxic, but “when has that ever stopped me,” as Slayyyter says. I love her soft and vulnerable vocals on this song, especially in the hook. This song feels like being in a softly-lit bedroom decorated only in pink hues. Love it. 9/10
Track 9: OLD FLING$
This is one of my favorite songs on the album. The vocal distortion, the beat, and her beautiful voice traveling over the hook makes it sound like more of a meditation or a mantra than a song. It makes me feel like I’m floating. The instrumentals also remind me a lot of the tumblr era. Lyrically, it talks about her and her boyfriend running into his ex at a bar. Interestingly atmospheric for a song about this interaction. 10/10
Track 10: I’M ACTUALLY KINDA FAMOUS
This is more of a scene than a song, and I think it’s very experimental and cool. The last four songs on the album including this one really tap into her insecurities that make her feel like the worst girl in America. This one explores jealousy, ego, insecurity, and fakeness in the industry and world she’s a part of. Super unique and interesting. 10/10
Track 11: $T. LOSER
This is another one of my favorite songs on the album. It’s an outward expression of all Slayyyter’s anger and negative feelings towards others and herself. She compares herself to others, and ruminates on why she hasn’t “made it” yet when she feels more talented than other people that have. I love the use of the cowbell as well, it feels appropriate as the song title references her hometown St. Louis of middle america. 10/10
Track 12: WHAT IS IT LIKE, TO BE SO LIKED?
The beginning of this song is hyping herself up, and it quickly dissolves into deeply sad and even suicidal thoughts from feeling like she doesnt belong or is failing. She really wants to succeed and to be liked, hence the song title. I really appreciate her vocal performance on this song as well. During the chorus she layers vocals and it makes her sound not completely stable. Quite moving for a song that starts with “I’m pussy stunting, I’m stunning every night.” 10/10
Track 13: *PRAYER*
This is an interlude, so I will not be rating it. I do appreciate its inclusion though. N/A
Track 14: BRITTANY MURPHY.
This is the best song Slayyyter has ever written in my opinion. She compares herself to one of her idols Brittany Murphy, who tragically died at the age of 32. In this song she is speaking as she is about to die. The vocal performance is striking and moving. It wraps up the theme of feeling like the worst girl in America beautifully, tragically, and relatably. 10/10
Highest Possible Score: 130
Final Tallied Score: 122
Percentage: 94% = A
