Slayyyter released her third studio album, WOR$T GIRL IN AMERICA on March 27, 2026.

     On May 13, 2026, they requested that we review it.

 

     Upon further inspection, Slayyyter is a Missouri gal, who worked her way from Soundcloud through Fader Records to Columbia for her big coming out this record. Part of the Midwest hardcore wave that’s dominated the pop underground over the last decade or so, she’s as legitimate a performer and producer as she is a representative of her pop influences. We’re honored to have received the assignment.

 

     (Track 1) “DANCE…” is a demonstrative introduction reminiscent of Lady Gaga’s 2025 project Mayhem, as Slayyyter does a bit of vocal soaring on the refrain and rides the ebbs and flows of a grumbling pop beat that subsides and rebuilds for a bridge before more “oooooooooooouuuuaaaaaaaaahs.”

   (Track 2) “BEAT UP CHANEL$” shifts the LP into the next gear. A bouncy hyperpop beat takes over and Slayyyter’s MC persona introduces herself. Here’s a bit: “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 weeed”- holy cow.

 

     So clearly Slayyyter is a partier, rager is probably the more accurate term, but she glides more nimbly on the back half of track 2, somewhat resembling Gwenn Stefani (though I doubt the two would agree politically). As for personality, I’ll point to the dollar sign in the center of the thoughtfully titled album’s cover, intentional themes of attachment on (Track 3) CANNIBALISM!” and throughout, plus the ongoing theme of fanatical fame-fun-&-fortune-chasing.

 

     (Track 5) “CRANK” may be my favorite.

The beat begins pulsating and riveting for nearly 30 seconds before Slayyyter starts spilling bars all over it, a siren begins to whirr in the background, and she requests that her DJ “CRANK IT!” She revs it up similarly, with increasing gumption, several times before the song’s end and spits quality verses in between, well-rounded and incessant.

   (Track 6) “GAS STATION” is a solid lil story song with an increasingly throbbing baseline that supports this flighty chorus: “When you left me all alone at the gas station/ I was crying out my eyes out of desperation/ I kept looking at my phone, I was hoping you would call…” Let’s get back to raging.

   (Track 7) “YES GODDD” does just that. The waves of acid bass mixed to wash overtop the vocals simulate a crazed pit show, MC screaming in between the DJs pounding sound, and while there are actually some great lyrics in the build, this track is all about the title line. Slayyyter repeatedly screams “YES GOOOODDDDDDD” with unrelenting fervor and it takes me to the place it was meant to be performed (minus the fumes). Ok, maybe this is my favorite.

   (Track 8) “UNKNOWN LOVERZ” is a washy refrain from its predecessor. For one of the few, if not the only wholesome track on the record, Slayyyter chooses shades of Magdalena Bay as her sonic scape, and reminds me of Wet Leg’s Rhian Teasedale on the spoken bridge. She carries a passably popified prototype of the same sound into (Track 9) “OLD FLING$,” but the album’s third STANDOUT track comes next.

 

     Track 10 has the sound of an important song from the needle drop; if that’s hard to imagine you’ll have to listen. “You think I see you?/ You think I care about you? / You think you strike some kind of nerve, do ya? / Oh you know the DJ? (oh she knows the djjjj) / No, you know the owner, right? / Oh, you know my boyfriend? / Do you know me from somewhere?... ‘I’M ACTUALLY KIND OF FAMOUS’.” (beat drop)

   When Slayyyter knows she has lightning in a bottle, she completes excellent songs. I’d love to know whether she writes the song and seeks a fitting instrumental or makes a machine gun beat and then decides to write something special. Whatever the case, she delivers.

   (Track 11) “$T. LOSER” is no different. This song exhibits a vengefully simple questioning of a past connection: “I think about you / Do you think about me?” – over and over. That doesn’t stop the track from building from a rigid beat to a soaring backing for Slayyyter to once again emulate Lady Gaga, singing with all her might and control amongst the strobes.

 

     It’s on the less sonically impactful tracks, like (Track 14) “BRITTANY MURPHY.,” which are more lyrically focused, that I find myself wondering if she ought to enlist some session musicians to better bring to life her apparent visions. The soundboard is only so deep. However, for this LP, passable tracks like those are a rarity.

 

     Slayyyter is unmistakably driven, stylistically focus, and on her way to the center stage.

She just announced dates for her Australian tour, where she’ll no doubt be greeted with the warmest of EDM crowds, and she’s set to appear on Jimmy Fallon Tuesday (5/19) if you care to watch that.

I’m personally tickled to have been brought into the dialogue on another rising artist and thoroughly enjoyed the record. As for Slayyyter, good luck getting exceedingly rich and famous, tis the dream they’ve sold us.

THE WOR$T GIRL IN AMERICA is an 8.6.