From CupcakKe’s song “Deepthroat” to Cardi B and Megan Thee Stallion’s song “WAP,” music my Catholic school teachers would condemn me for listening to has always had a special place in my heart. Kim Petras’ extended play “Slut Pop” is no exception.

Petras released “Slut Pop” just in time for Valentine’s Day on Feb. 11. This is her fourth EP with only seven tracks that fall under the dance-pop subgenre. Each song is aggressively erotic and so abundantly sex-positive, that I found myself snorting in disbelief as if I’m a child that just found out where babies come from for the first time. I loved and hated every second of it.

The German pop artist has always kept it rather family- friendly with her music as exemplified through fan favorites like “Heart to Break” and “Malibu.” However, as a long- time fan, her cookie-cutter pop princess persona was quite tiresome for me, so something fresh from the artist was long overdue. Needless to say, I was exhilarated by the title alone when Petras announced “Slut Pop” as her next EP.

From a purely musical standpoint, this EP doesn’t really break any barriers. Each song features quintessential electro-pop sounds and feels as if you’re listening to a DJ set rather than a fully materialized track. Though jarring and unexpected, the lyrics across the board aren’t exactly the most creative either.

The full run-time of the EP is a mere 15 minutes and 51 seconds long, but it drags. This is mainly due to each song sounding strikingly similar to one another. Once you get over the repetitive nature of the lyrics introduced in the first few songs, you do not feel the necessity to complete the rest of the EP. I mean, to be fair, when a lyric as “perfect” as “This is slut pop, whip your dick out” explodes in your AirPods, there really is no topping that. But I don’t care for songs that loop with the same one or two pieces of audio, and “Slut Pop” is full of it.

Despite its many flaws, the EP is clearly not meant to be taken seriously in the slightest. Musical artists like CupcakKe, Nicki Minaj and Cardi B have used erotic themes to brand themselves and have built a career on essentially making a mockery out of intimacy. Nicki Minaj’s song “Anaconda” and CupcakKe’s song “Vagina” are not necessarily good but earned popularity due to their shock value and humorous take on sex and genitalia — two things that are often condemned in everyday conversation.

Petras wanting to dedicate a whole EP to topics of intimacy in the most explicit way possible should be perceived as comical and not earnest.

Music that teeters between absolute filth and the tech- house subgenre is something that numerous queer folks tend to connect with wholeheartedly. I’m definitely among that demographic.

Songs that are deemed controversial due to its atypical messaging and rebellious undertones is something that many queer consumers can connect with. Their identities are seen by the masses as just as contentious to the music they listen to. Songs like “Throat Goat” and “Treat Me Like A Slut” are just the kind of thing I would customarily find blasting in the speakers at a gay bar. It is why I can appreciate the fact that an EP like this exists, especially from an artist with a huge queer fan base.

What I can’t admire is the fact that producer Dr. Luke co-wrote some of her songs and is credited in producing Petras’ EP. Singer-songwriter Kesha accused Dr. Luke of sexual abuse in 2014 and even filed a lawsuit against the producer. Kesha dropped the lawsuit in 2016. Dr. Luke filed a counter lawsuit of defamation against the singer which is still ongoing.