“#BOYLETMEKNOW” uses quivering sound and sample-collage text to address a boy who will not text back, with pop influences from Tinashe, Carly Rae Jepsen, Doja Cat, and Kim Petras. The music arrives as atemporal but coherent stems, reflecting how memory can function. “GET UGLY” channels Zara Larsson to frame music-making and performance as a body-bloodying fight, with harsh vocals over metal riffs and aggressive kicks. The album assembles a wide range of dream guests through references spanning mainstream and niche, collapsing genre and regional boundaries. Released as frequent loosies, the tracks build a polyrhythmic frenzy that can feel numbing, with longer, more overproduced, brasher arrangements and fewer moments of levity.
"“#BOYLETMEKNOW” functions as both a morass of quivering sound and a sample-collage text. The ghosts of a generation of pop girls- Tinashe, Carly Rae Jepsen, Doja Cat, Kim Petras -team up to call out to a boy who won't text Jane back. There's a poignance to the way the music comes out as a tumble of atemporal yet strangely coherent stems, mirroring the way memory can work."
"Elsewhere, on “GET UGLY,” Jane channels Zara Larsson for what feels like a sci-fi manifesto depicting music-making and performance as a body-bloodying struggle akin to mortal combat. “Have you ever seen a pretty girl get ugly like this? Messy like this?” Larsson chants, her voice ripping apart in the smog of metal riffs and flesh-eating kicks."
"These tracks are basically Jane assembling a who's-who of dream dinner guests and serving them a gourmet bomb. No one is spared: Waka Flocka Flame and Janet Jackson, SOPHIE and underscores, Pokemon and Donkey Kong and Counter:Strike characters all get blown up as Jane collapses the boundaries between regions and genres, mainstream and niche."
"Taken as a whole, the album's polyrhythmic frenzy sometimes feels more numbing than electrifying. Compared to previous leroy releases, the tracks are longer (some reach nearly six minutes), more overproduced, and brasher; it's not so much a dopamine IV drip but a full-on hydro cannon. By the fourth or fifth rawstyle freakout, the beats start to feel like an iron mallet whacking your brain."
Read at Pitchfork
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