LØLØ: God forbid a girl spits out her feelings

‘God forbid a girl spits out her feelings’, the latest album from LØLØ, feels like a direct emotional reversal of her debut ‘falling for robots and wishing i was one’. Where that record circled around detachment: the desire to feel less, to become something colder and more mechanical, this one is defined by the opposite instinct. It’s about feeling everything, all at once and not filtering any of it. The result is louder, sharper and far more exposed, like a running commentary of thoughts that were never meant to stay internal in the first place.

That shift is immediate. The title track, ‘god forbid a girl spits out her feelings’, opens the album with a kind of sarcastic defiance. It’s punchy, hook-driven, and biting in a way that feels intentional, like she’s fully aware of how she’s perceived and pushing back against it in real time. It acts as a mission statement, not just for the album, but for this stage of her career.

From there,‘the dumbest girl in the world’ sharpens that perspective. It leans into self-deprecation on the surface, but underneath there’s a frustration with being underestimated or dismissed. The contrast between the upbeat, almost playful instrumental and the underlying bite in the lyrics is where it really lands. It’s catchy in a way that feels effortless, but it carries more weight the longer it sits with you.

Tracks like‘hung up on u’ and ‘delusional darling’ continue to build on that emotional openness, diving into attachment and self-awareness without softening the edges. There’s a recurring tension between knowing better and feeling anyway, and LØLØ doesn’t try to resolve it, she just lets it exist. That honesty becomes one of the album’s strongest qualities, even when it borders on uncomfortable.

Midway through,‘the punisher’ stands out as one of the more pointed moments on the record. There’s a sharper bite to it, both lyrically and instrumentally, giving it a sense of confrontation that cuts through the album’s otherwise consistent tone. In contrast, ‘007’ plays with a slightly different energy, still rooted in the same pop-punk framework, but with a lighter, almost tongue-in-cheek edge that helps break up the intensity, even if only briefly.

Later tracks such as ‘the devil wears converse’ and ‘stuff like that’ reinforce the album’s core sound: bright, punchy production paired with emotionally direct writing. By this stage the formula is familiar, but that familiarity also helps the album feel cohesive.

‘whiskey coke’ and ‘american zombie’ add to the sense of emotional spiraling, touching on escapism and disconnection without fully retreating into numbness. That’s a key difference from her debut, these songs acknowledge those impulses, but they don’t hide behind them.

Toward the end, ‘boy who doesnt want to’ becomes one of the album’s more reflective highlights, pulling back slightly and letting the emotion settle rather than explode. That restraint makes the closer, ‘lobotomy & u’, feel fitting. It circles back to the tension between wanting to feel less and being unable to.

What ultimately holds ‘God forbid a girl spits out her feelings’ together is its emotional consistency. That clarity gives it a strong identity, though it can also cause some tracks to blur together over a full listen. Compared to ‘falling for robots and wishing i was one’, this feels like an artist no longer trying to suppress what she feels. Instead, LØLØ leans fully into it. The album may stay within a familiar sonic space, but emotionally it marks a clear step forward.

The album arrives Friday, 17th of April via Fearless Records, marking the next step in LØLØ’s evolution as a songwriter.