"god forbid a girl spits out her feelings!": LØLØ turns her diary into an album

LØLØ is back with her sophomore album, god forbid a girl spits out her feelings!, presenting a body of work that leans more into ballads than the usual rock-tinged sound of her debut album, falling for robots & wishing i was one. On this album, LØLØ doesn’t hold back, singing about her emotions, spilling them straight from her diary.

In the title track, she warns that her “ex-friends and ex-lovers aren’t safe” and that she’s “not taking [their] shit to [her] grave.” She opens the track with the words:

Call me bitter

Call me weak

Baby, it’s just poetry

No need to be offended.

This sophomore album shows her from a different angle. LØLØ's still the pop-rock artist you know. Still, this album proves she is more than that, showcasing her soft voice through stripped-back productions and top-tier lyricism that takes your breath away. LØLØ fully owns her emotions, sensibility, and vulnerability, reminding you that it is okay to feel, as we are all human beings, and not robots who don’t feel a thing. Across 13 tracks, she explores heartbreak, dating in the digital age, and self-deprecation, all wrapped in a diaristic record that moves between ballads and her familiar high-energy pop-rock sound. 

The title track interludes into “me with no shirt on,” a vulnerable, sad ballad that captures that point in a relationship when you feel the other person slip away.

You used to lose your breath over me

Now I’m losing my mind

You used to get obsessed over me

Now I can’t catch your eye.

Stripped back guitars, a soft voice, and the harsh truth of reality settling in make the song hit even deeper.

Then comes "the dumbest girl in the world," a stark contrast to the previous track. Sarcasm drips from the lyrics as she calls herself the dumbest girl for running back to someone who has hurt her before.

She’s the dumbest girl in the world

Running back to that boy like she wants to get hurt.

There’s a biting tone, and the ending drives that point home:

Look at her now

She’s running back

Right into his arms

It’s embarrassing

But bless her heart

She’s not so smart.

"Hung up on u" shifts into a dreamy pop track, carried by guitar and her airy vocals. The repeated 'hung up on u' mirrors the emotional fixation on a person in the early stages of a relationship, when you wonder whether you are the only one feeling it. “I wonder if you feel the same, though / do you?”

The fifth track breaks away from the dreamy vibes and stripped-back production, letting you know that the LØLØ you knew before this album is still there; she has just evolved. The drums are loud, and the edgy rock-pop vibes are back, matching the words of a "delusional darling."

She leans into denial, singing about how she has “just cut out [her] eyes so [she] can’t see all the signs,” the signs that the relationship is already falling apart. She convinces herself that “everything is fine” and that “he’s only busy,” while admitting, “honestly, I’m scared to be on my own.” She becomes a delusional darling, choosing to ignore reality rather than risk losing him. Pretending everything is fine because losing him feels worse than how she feels.

In "the punisher," the reality hits: the relationship is over, and he has moved on, allegedly with a new girl. In the digital age, that realization becomes even more painful as she finds out details she was never meant to know. It’s that feeling when you are still thinking about that person, searching social media to see what they’re doing, and finding out things you shouldn’t have known, only hurting yourself in the process, punishing yourself.

Allegedly, there’s a new girl

And unfortunately, I know everything

Her name, her sister’s, and what she made you for dinner

God, I hate the internet.

Showing that these feelings are not just straight from her diary, but also relatable to other people.   

In “007”, LØLØ makes clear that she’s fully aware of the other person’s intention and the game being played. She’s leaning into an espionage-like James Bond style, letting the person who thinks he’s undercover know that she is onto them.

"The devil wears converse" was released as the first single of this new era. It fully leans into upbeat pop-rock energy and captures the feeling of falling for someone irresistible who makes you abandon your better judgment. Framing him as a devil who wears Converse, a 90s band tee, and a backward hat.

“Stuff like that” carries a recognizable sound, reminiscent of "Teenage Dirtbag" by Wheatus. With late ’90s guitar-driven production and her dreamy vocal tone, LØLØ plays with that nostalgic atmosphere while keeping her lyrics emotionally grounded. Lines about not believing in magic, never wishing on stars before meeting that person, and then believing in it because of that person: “since you, I believe in stuff like that.” Following with, “I don’t wanna mess it up or break this, so I look up at the sky.” Leaning into the feeling of not believing in magic and superstition, things you can’t see, until you meet that one person who makes you question it, because it feels too good to be true, almost as if it is magic. The thought of losing the person you fell in love with becomes unbearable, so she looks up at the stars and wishes for it to last.

A reminiscent Avril Lavigne sound opens "whiskey & coke," where dreamy vocals meet the guitar, the sound lingering underneath, drawing focus to the lyrics.

If I can be enough to drown the bitter out,

then you wouldn’t have to wake up on the floor

if you could trade me for your whiskey & coke.

The raw words about intoxication and self-destruction are cutting, and suddenly, the dreamy vibes turn eerie. It leaves chills and turns the atmosphere uncomfortable. It leaves one unsure how to handle the picture painted. It lingers, almost desperate.   

The eleventh song on this album is "american zombie." The story tells of an unhinged love: knowing the relationship is doomed from the start, she still goes for it. It’s upbeat and with the familiar rock-pop edges known from LØLØ.

Following is the "boy who doesn’t want to." The drums are there from the beginning; her voice sounds breathy, filled with frustration, but also with the realization that the boy who doesn’t want to is actually never going to change. There is nothing she can do to make the relationship last because the boy doesn’t want to change, and she realizes that.

I never tried to stop the world from turning

So why am I trying to stop the boy from hurting?

And this realization is her power to break out of it. While the verses are handling the frustration, the refrain feels like a fresh breath of air, the realization that dawns on her, and helps her out of the cycle.

The final song on the album is "lobotomy & u." It’s smoother, calmer again, eerily calm to be exact, contrasting the prior ones. Still, the lyrics leave a bitter, uncomfortable truth. She sings about needing a lobotomy, a serious medical procedure, to wipe her mind, “cut out all the lies” and “carve out all the ugly truth.” She wants to erase all the bad memories so she can crawl back into the person’s arms.

This album captures her rawest emotions to this day. The thoughts from her diary are uncomfortable, obsessive, self-destructive, heartbreaking, and oddly relatable. This stripped-back sophomore album genuinely captures her incredible songwriting talent and paints a picture in the listener’s mind, hitting them hard, balancing catchy, sarcastic lines with real, harsh vulnerability. It feels real and healing in more ways than one, hitting close to home for anyone in similar situations. It doesn't just help her cope. It also makes listeners feel understood. No overanalysis needed, sit back and let the words sink in. This album is a body of work that holds incredible lyricism. The vibes take you from the late 90’s to the early 00s with a tinge of 21st-century pop. If you are a fan of Wheatus, Avril Lavigne, early Hilary Duff, Olivia Rodrigo, and Taylor Swift, this is the album for you.

god forbid a girl spits out her feelings, proves LØLØ has her own style and can connect her strong, honest, and raw songwriting with her known pop-rock production. But also strip it back to her breathy, dreamy voice, accompanied by a low melody and guitars, making it even more intimate, painting a picture as if she’s sitting on her bed, singing directly to you, from her diary, into your heart.

One thing is clear: you can’t put LØLØ into a box.

She is not solely a pop artist. She is not solely an alternative rock/punk artist.

LØLØ is all that combined, and that is her true power.

She takes the strengths of all these genres and departments and makes them her own, spilling all her feelings under the saying "don't hate the player, hate the game," as she mentions in her title track.

Picture Credits: LØLØ

LISTEN TO LØLØ's god forbid a girl spits out her feelings HERE: