As Slayyyter is having her moment after the release of WORST GIRL IN AMERICA, I can’t help but feel an immense amount of nostalgia and some pride, knowing that I got to her before this era, similar to how I felt as Brat was launching Charli XCX into mega-pop stardom. I’m also pretty relieved to see that she made it out of the Y2K-drenched cesspool that was 2020, sonically speaking. Slayyyter’s initial aesthetic leaned heavily into that side, and for the time, it made perfect sense: pastels, shiny bling, and crude titles. The aesthetic worked for her, almost too well. However, seeing this transition, or rather transcendence into not only finding her own sound, but making it known, brought me a tremendous amount of joy.

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