WOR$T GIRL IN AMERICA occupies two worlds simultaneously, and the tension between them is where the fun lives. On one had, this is a massive, festival-ready EDM record with huge kick drums and enormous Skrillex-style synths, and on the other it’s a pop album aiming squarely at the tradition of Britney Spears, Christina Aguilera and Lady Gaga.

That lineage of provocative, confident dance-pop that traces its roots all the way back to Madonna understands that in this genre, attitude is as important as the music, and the hook has to be big enough for thousands of people to scream back at you from a field. Slayyyter understands all of this, with enormous, shoutable hooks and huge beats underneath them. OLD TECHNOLOGY is great fun, built on a funky triplet stomp and CRANK is an unbelievable anthem. YES GODDD sounds like Boys Noize or Gesaffelstein in full flight and $T. LOSER is a massive, thumping floor-filler. Some tracks are sparkly and girly and others are brutally intense rave music. The Charli XCX comparisons are clear, leaning into the stupidity of fame and pop culture with a knowing grin and Slayyyter fully commits to having the time of her life with a very cheeky energy. She may call herself an anti-pop star, but she’s making music that only someone who deeply loves pop could make. Not a record for quiet evenings or moments of reflection, this is an album that bangs relentlessly from start to finish, and sometimes that’s exactly what you need. The history of American pop stardom follows a well-worn and frequently destructive arc from Mickey Mouse Club origins and a squeaky clean image to manufactured provocateur reinvention and shock tactics before the inevitable collapse under the weight of it all. Slayyyter refuses to play the game. Self-aware and catchy as hell, WOR$T GIRL IN AMERICA is a massive middle finger to anyone claiming the dancefloor is dead.