Word on the street is that it’s about to be a (northern hemisphere) Slayyyter summer. The American singer, songwriter and producer is defining the zeitgeist right now with her electric electropunk third studio album, WOR$T GIRL IN AMERICA.

Defiant, fearless, sly and witty, the album is the artist’s best work yet - and, as all great albums do, it’s been born out of Slayyyter embracing her true self: “Slayyyter began as an alter ego but is almost more like a nickname now,” she says. “There’s less persona and fantasy. That’s not me. Jean shorts, Budweiser, wearing grills—that is me.”

Between Coachella weekends, 10 Magazine Australia's Music Editor Roxy Lola caught up with the artist to discuss why her music is resonating right now and what’s next for her upcoming tour:

It’s such a wild time to be Slayyyter.

I know. I don’t know what’s happening, but I am happy.

I’ve been such a fan of your music from the very beginning, so it’s been really cool to watch this album blowing up in real time. I also watched your Coachella performance - I loved that you performed with a live band. Why do you think this album is resonating the way it is?

I don’t really know. Personally, I feel like this is definitely my best effort with music. I think this album has come at a time where I’m older, a little more sure of myself. I know my tastes, I know my voice better, I know how to use it. I have touring experience from years of being on the road, doing my own tours, opening for people. This is my first project where my skillset feels its sharpest.

At the same time, I think the visuals and the nature of the album, people are really resonating with this small-town, anti-glamorous messaging. When you’re from a small town and you consume celebrity culture from the internet, like we all did, it feels nostalgic but also fresh and forward.

There was a lot of heart and soul put into this, and maybe people are fatigued by glossy imagery, big-budget videos, airbrushing, styling. There’s something deconstructed, not glamorous, kind of ugly and weird about it that people connect to. It represents them more. This album isn’t a character - it’s who I really am, how I dress day to day. I wear baggy jeans, boots, fringe jackets. I think people see themselves in it, or where they’re from. That might be why. I don’t know, but I’m happy people like it.

I think you can feel that honesty. Also sonically, there’s this wave of punk and hyperpop happening, and you’ve landed right in the middle of it with this electro-punk, slightly chaotic, rebellious energy that feels very relevant right now. What did you learn about yourself while making it?

Honestly, I feel like I just tapped into trusting myself - my gut and my intuition. I feel very sure of myself as an artist now. The way I talk, rap, and sing is very specific to me, and I don’t think I always leaned in as hard before.

I learned that my own essence is my artistry. That’s me as an artist. Not trying to be glamorous, because I’m just not that person. I’m not fancy, I don’t have super fancy clothes. In the past I would try to wear cool brands and look how I thought a pop star should look, instead of looking like myself.

Now I love that I look like myself, sing like myself, talk like myself. That’s what people are resonating with. It feels really sweet to me that people are enjoying it when this feels like the most me album I’ve made. I’m screaming, it’s angsty... that’s just me. I’m just like a nasty little Midwest girl.

I love that.  I think that really comes through, not just in the music but in the visuals and your style too. Fashion feels like such a big part of this world you’ve built. Who were your style icons growing up, and even now?

I love the Olsen twins. When I was younger, I loved paparazzi pictures of them - they’d have fringy Prada bags, Balenciaga wedges, smoking a cig, hair all disheveled. My natural hair texture is very that Olsen twin shag, roots grown out. They inspired me a lot, along with Lindsay Lohan and Brittany Murphy.

Brittany Murphy’s street style - she’d wear romantic, feminine pieces but mix in something cooler and edgier. That really inspires me, especially Uptown Girls.

Also growing up in Missouri... things like Kate Moss’s muddy Glastonbury boots always reminded me of home, like walking outside after a big rainstorm and getting mud all over your boots. That inspired me to make my own mud boots, which became a staple in this world.

A lot of it is Midwest cut-off denim shorts, dirt on t-shirts, cheap little princess crowns you’d find in your closet as a kid. Those little touches represent my hometown, my upbringing, how I dressed in high school, taking pictures for Tumblr.

When I first heard the album I immediately thought of Death Grips and then today I saw you mentioned them as an influence. If this is your most “you” album, is it basically a reflection of everything you were listening to growing up?

Yeah, absolutely. I kept calling it “iPod music” because I listened to so much different stuff when I was younger. Super pop, top 40, but also random indie electronic things I’d find on blogs. I’d download every iTunes free single of the week and find little indie nuggets.

There was so much influence from so many places. It’s not one thing... it’s everything squashed together. Even things like hearing Bloc Party in Gossip Girl and becoming obsessed. M.I.A., Death Grips, Sublime, Lady Gaga, Lana Del Rey - it’s all in there. It really feels like the essence of me as a teenager.

Is there a track on the album that you feel especially proud of?

I think CANNIBALISM! is maybe my favourite, or BEAT UP CHANEL$. It changes every day, but CANNIBALISM! feels like the coolest. It has that groovy psychobilly punk vibe, almost a western element with the guitar at the end. I’d love to move more into that direction.

It almost has a Jack White vocal style or Cramps influence. It’s mostly live instrumentation, and when I first heard the drum hits I was like, holy shit, this is so sick. It really stops you in your tracks. I’m really proud of that one.

Okay, I need to ask about BROKE BITCH FREE$TYLE because people have been waiting for this track to drop since your Boiler Room set in 2024. Why release it now?

It’s been in the vault for a while. I made it around the same time as the album but it didn’t fit the tracklist, even though it’s part of the same world. So I saved it for after to keep the world expanding.

It’s in the same vein but it’s like an anti-flex song, which I think is funny. I just got on the mic and started rapping nonsense, but funny nonsense—about being broke, being a tweaker, spending all my rent money on boots from Vestiare Collective, which is a true story. It feels like the tougher side of the album.

You’re also about to go on tour, and your live show already looks insane. Have you had any of those formative concert experiences that shaped how you approach performing?

My live show is more inspired by how I like to perform and things I’ve seen online. I love watching tour documentaries, like the Soulwax one, which really inspired me for this tour, bringing that punk electronic energy to the stage.

Who have you been listening to? Who’s exciting you?

So many. I’m obsessed with Pearly Drops. They’re probably my favourite right now, and I’m so excited they’re opening the tour. I’ve listened to them through breakups, crying on public transport, looking out the window. I love them - they’re incredible and about to get huge.

Natonya is also incredible. I found her through a visual someone posted - her voice, her visuals, she’s such a star. There’s just so much great music right now.

Listen to SLAYYYTER here.

@slayyyter