Catch Slayyyter at Chalk in Brighton this November!
Release date: 27th March 2026
Record label: Columbia Records
After eight years of carving her niche in the world of polished pop, Slayyyter embraces a divinely abrasive new sound on her latest album, WOR$T GIRL IN AMERICA. Inspired by “iPod music” and the 2000s it-girls that have long been an influence on her style, the singer concocts a glorious tracklist that is at once gorgeous and rugged.
The electroclash-inspired singles DANCE… and BEAT UP CHANEL$ feel like the perfect openers for the record, immediately setting the scene for the feast of woozy, danceable hits to come.
Slayyyter identifies her inspiration for the album’s sound as “iPod music” – an influence which is no clearer anywhere on the record than it is on the explosive CANNIBALISM!, where the bass, guitar and pummelling drums wield the sonic power of iPod-era bands like Yeah Yeah Yeahs and Gossip. This is Slayyyter at her most uncompromising, unafraid to take up space and make noise in an industry which has often tried to keep women in pop music quiet.
The singer exudes confidence from the get-go, claiming a loudness that continues through into tracks like OLD TECHNOLOGY, CRANK, GAS STATION and YES GODDD – the latter being potentially the most raucous song on the album.
But it’s also the vulnerable, raw moments that make this album one that is free of compromise.
When Slayyyter welcomes herself as the self-described “Worst Girl in America” across the album, we see her in a more intimate light than ever before. The soft, dreamy opening of GAS STATION heralds this exploration. Slayyyter carries her stricken emotion beautifully in her voice, singing over trilling synths and pounding drums that recall a heartbeat, building a tragically danceable anthem.
This confessional lyricism flows right through to later on in the album. On WHAT IS IT LIKE, TO BE LIKED?, Slayyyter confronts the perplexing aspects of fame, before experimenting with religious sermon on *PRAYER*. Here, she creates a peaceful prelude for her final, pensive track, conveying a profound plea for strength from a higher power amidst her display of vulnerability.
In taking a retrospective viewpoint on her life on BRITTANY MURPHY., Slayyyter’s finale track marks the most introspective point in the album.
In an interview with Culted, the singer explained that this song is not necessarily about the late Hollywood actress, but rather illustrates her hardships with depression and personal feelings. This earnestness brings in a cleansing catharsis to the record, balancing the hedonistic attitude it also boasts and highlighting Slayyyter’s multifaceted capabilities as an artist.
And for Slayyyter, these capabilities do not end in the realm of sound, because WOR$T GIRL IN AMERICA is a visual album. A video accompanies every track, so you can follow Slayyyter deeper down the rabbit hole, into the glittering, maximalist world of the “Worst Girl in America”.
With its riotous electro-pop bangers, intimate moments, and cinematic imagery, WOR$T GIRL IN AMERICA is surrounded by an atmosphere that is practically palpable as you listen. It gives you a space to acknowledge your feelings as well as dance, embracing the complicated nature of being human.
This review was edited by Yan Sorochynskyi
