It's fair to say that everyone’s been prepped for ’s vehement X-rated debut album. At the time of writing, the Bimbocore-pioneering artist has racked up 24 million streams alone of , an anti-harassment manifesto that includes the lyrics , while the video for (‘Man, I Love Fucking’) sees Scene Queen aka Hannah Collins twerking and singing into a 12-inch dildo. Safe for work, Scene Queen is not, and the anticipated debut album, , is no exception.
Faced with 15 raw and rampant tracks straddling topics from S&M to pegging, it feels like we’ve been merely microdosing on Scene Queen until now. The first thing you’ll notice are the songtitles, reading like a roll call of porn’s most wanted ( , , ), inspired, Hannah explains, by the pre-pop-up-blocker era of internet porn ads and celebrity sex tapes. In the spirit of ‘something for everyone’, the album’s musical pastures are equally varied and provocative, underpinned by raging metal but alluding to rap, hip hop, country, pop and dance, showcasing Scene Queen’s willingness to embrace an array of sounds.
But one sound dominates them all: the uncensored narrative of the Queen herself. Packed with scathing humour, vitriol, cynicism and filth, here Hannah’s staggering abilities as a lyricist shine through. At her most profound she broaches the topic of grooming and underage sex on the discordant rap drop , where she injects the bubblegum chorus with the lyrics .
Elsewhere, uses sadomasochism as a vehicle to commen.
