Ayla Boose is a content writer for KCPR. The opinions expressed in this article do not necessarily reflect those of Mustang Media Group.
Catherine Grace Garner, better known as breakout pop star Slayyyter, made a lot of sparks this past summer. I remember seeing a reel of her 2026 Coachella set and being blown away, albeit a bit offended.
How had I never heard of her before?
Like many I thought she was a new artist. Little did I know her roots started on Tumblr, where she released singles and albums on her own – a well kept secret for a decade before viral tracks like “CRANK,” “DANCE” and “BEAT UP CHANEL$” took over headphones and party speakers.
Flash forward to July 31, she released an “inverse track” of breakout hit “BEAT UP CHANEL$” called “brand new chanel$,” almost a year after the original release.
The track acts as an inverse in more ways than one. Aside from imagery provided by the spelling and capitalization, the song features a storyline illustrating infidelity, washed in sparkles and fireworks of guitars and synths – a bit of a diversion from the heavy guitar and dirty distortion that characterized the sound of her latest album, “WOR$T GIRL IN AMERICA.”
In an interview with triple J, Slayyyter remarks how this song is “a hard pivot from everything” she’d previously released. The midwestern rhinestone princess has grown thick skin to criticism due to an increased spotlight on her and her work, she admitted in the same interview. “brand new chanel$,” while seemingly cut from a similar cloth as “WOR$T GIRL IN AMERICA,” won’t necessarily be sewn with the same thread.
Garner teased in the triple J interview that this upcoming project features new songs that feel “like there was a link from something that came before it,” reflecting a modern method of album cycling similar to artists like Tyler The Creator or Charli XCX with the idea of “a new era” aided by a curated image or visual artistic theme to accompany a new album or single.
Something Garner has shown expertise in is styling to stand out, seen on her last album featuring tight corsets paired with flannels, lacey stockings, shotguns, ripped denim shorts and bunny ears.
While the neon of her rising fame glows bright, the culmination of her work and curation of her craft during her time in the shadows is what excites me for this next album. With the power of her creativity in her hands, and now in the spotlight, it’s a question of how her artisan will manifest in a new way.
Aside from the ear-worming nature of her songs, what makes her music special is how her authenticity shines through. You can hear that she’s sure of herself and her music through the sonic layers of “GAS STATION” or “CANNIBALISM!” Each synth and echo seems steadfast, not something that was just dropped into a track, but something that was thoughtfully produced in order to create a sense of shimmering desperation.
Slayyyter serves as an insight into the state of current new music.
The revival of heavy production with an iconic early 2000’s flare can be attributed to a generation influenced by the sounds and clicks of the video games they grew up with, teaching themselves music production in high school and an unhealthy amount of time spent on Tumblr.
With albums like “U” by underscores, “Anarchy” by Pretty Sick, “Rumspringa” by ear and upcoming projects from artists like Sophia Stel, there’s a clear trend. A reformation of the dance floor rooted in nostalgia and coated in a new wave of experimentalism.
The plethora of current electronic alternative pop music, I think, is a byproduct of these artists coming up during a time with music streaming services that provide them the ability to gain exposure to any and all artists at a simple click, as well as the ability to self produce. Music is in the hands of the listener, not just in selection but in having the power to create it yourself.
