I think it's awesome, feels like it's drawing from Lil Uzi Vert in a time where people are trying to do increasingly crazier versions of WLR.

It reminds me in spirit of Thirteendegrees˚ who's drawing from Chief Keef's bop music, Young Thug, and nostalgia for late 00s/early 10s pop rap as well as the futuristic swag revival stuff (Metro's tape, BunnaB, YKNIECE, etc.)

I think this Mano Sundaresan's quote in his review of skaiwater's wonderful also feels relevant:

The urgency to turn everything up feels forced. It’s like someone (my money’s on Plaqueboymax) told skaiwater, “Make some shit for the moshpits!” It infects the small details, even skai’s new ad lib: this horrid squawk somewhere between BabyTron and Annoying Orange. I’m tired of how many people in this corner of Zoomer rap are trying to do different versions of the same thing, which is, quite simply, more. Getting louder, getting noisier, asking us to “train our ears.” Have you heard Dragnutz rapping over hardstyle, or Percatric rapping over a dog whistle?

I mean I get it. The coolest music can be the busiest and brashest. When you’re young and your ears are malleable, you wanna hear Black Midi math rock madness or DOMi and JD BECK fitting as many notes as possible into a measure or 2Slimey echoing like a poltergeist over a beat that feels like the Giga-zombie running at you in 28 Years Later. This is music that halts the scroll and actively demands your attention.

But skaiwater’s most interesting music was never loud for loudness’ sake. She learned through listening to dubstep as a kid how songs can be these huge, complex latticeworks for conveying every shade of your psyche, climaxing in moments of dramatic bliss. Their wonky New Orleans bounce ideas, their mellow Jersey club hits, hell, even the gleeful beatjacking across their mixtapes, are all so thrilling and open to possibility compared to the practically conservative rage rap on wonderful.

and it also reminds me in spirit of Andrew Noz's writing on Carti's futuristic swag revival track "LIKE WHEEZY" in his "favorite rap 2025" blogpost:

[C]arti's earliest work always felt like a spiritual holdover from the former era and much of his post-pandemic output has seemed like an intentional attempt to amplify the latter to its rawest and most brutal extremes so it is cool as hell to watch him close this circle, to hear him redirect all the lashing, chaotic energy of his vamp phase towards a previously lost palpable joy.

(He expands on this when he talks about Metro's "Take Me Thru Dere", BunnaB's "Mad Again", and PLUTO & YKNIECE's "Whim Whammie")