So exciting to hear an alt metal project that integrates more accessible genre elements with a cohesive artistic vision instead of throwing them into a gym-playlist-slop grinder. Both clean vocals and screams work really well here, but singing definitely stands out as the vocalist manages to pull off a lot of their riskier choices, pitch and timbre-wise, without entering the sleep token territory. With a touch of what I can only describe as Horny Gay Vampire Music vibes - that thing that ... read more

been collaborating cross-functionally to maximize shareholder value with this one like there's no tomorrow ngl

Thematically, what seems to be a tongue-in-cheek meta commentary on the girlboss feminism of the 10s sat very well with me, and the record is tastefully produced. That said, it ultimately rests in the limbo of being too uncanny to be a genuinely enjoyable electropop album while not being experimental nearly enough to offer anything innovative and justify the occasional clunkiness.

if kylie minogue was an art hoe (respectfully)

This what not enjoyable. And you can’t understand more than 5% of the lyrics. Moshing doesn’t not equal dancing.

Very campy, very gay, very scene but in a self-aware kind of way.

Within the concept of the album, its hopeless gervais-esque lyrical irrelevance makes for a surprisingly coherent experience. Bringing very little musically to Eminem’s golden-era time capsule may feel like a fun nostalgic ride or distasteful fanservice. Or a combination of both at times. Either way, if you can resonate with an unsettling feeling of the immature fraction of your identity crumbling under the weight of an approaching mid-life crisis, this album can be an entertaining listen.