There are a lot more credits on this album than on previous Li records, and perhaps thatâ€™s the influence of Bhasker, who serves as producer and writer on several tracks. Liâ€™s work doesnâ€™t suffer from more collaborations, especially since she has clearly hand-picked people who complement her, including production and co-writing by Malay (Frank Ocean) and Rostam (Vampire Weekend). Their individual production styles meld into her long-chronicled interest in hip hop, but she maintains the tricks and quirks unique to her: a particular tri-tom beat â€śhard rain,â€ť a downward cascading melody on â€śdeep end,â€ť and oddly paced vocal arrangements across all the tracks. She gets furthest from her usual style on â€śjaguars in the air,â€ť which starts with the strum of a guitar but by the end owes more to trap music. She stays out there with â€śsex money feelings die,â€ť the musical equivalent of a Goddard film in its torturousness. â€śbad womanâ€ť and â€śtwo nightsâ€ť sit at opposite ends of the breakup spectrum, while â€śbetter aloneâ€ť might become the go-to anthem for that moment when you realize youâ€™re adulting in a relationship.