On previous album covers for Lorely Rodriguez’s alt-pop project Empress Of, the musician assumed a straightforward pose, casually stunting if not smiling. For the cover of her fourth album, which shares a cheeky title with the awards season campaign slogan, the Honduran American singer-producer throws her hair back as she straddles a shooting star, Los Angeles sprawled out behind her. She’s described it as something of a Hollywood album in all its sordid glam; the aching title track reflects on the end of a relationship with a showbiz scenester (“You wrote the script; your words, not mine”). That sheen of glitzy fantasy shimmers gently over Rodriguez’s club-ready explorations on love’s fleeting nature, running the gamut between heartbreak and hedonism and switching seamlessly between Spanish and English. She longs for “un hombre femenine, un latine, que baile pa' mi y solo pa' mi” on thumping house jam “Femenine”, wonders about the owner of an unfamiliar pair of earrings on infidelity banger “Lorelei” and finds redemption in a wild night out on “Cura”. Rodriguez’s lyricism is at times abstract and poetic (“The rumours there, the mirror shows, the cards don’t lie, the boys all know—what type of girl am I?”) and at others sharply seductive (“Yo soy fácil, fácil de comer, fácil de amar”). The small handful of guests are like-minded in their boundary-pushing, occasionally messy avant-pop: Rina Sawayama on the love-drunk “Kiss Me” and fellow Angelenos MUNA on the searching “What’s Love”.