NASTYWERKKKK!

At its core, NASTYWERKKKK! is a fierce, unapologetic diss track aimed at transphobes, the alt-right, and anyone who disrespects the artists' identities and success. Combining the chaotic, hyper-kinetic energy of digital hardcore with aggressive rap bravado, the song acts as a radical reclamation of space for marginalized identities, specifically within the trans and queer online communities.

The central message of the song revolves around establishing unshakeable dominance and pushing back against bigotry with overwhelming force. By directly calling out conservative figures and labeling opponents as alt-right rather than people who genuinely care about rights, the artists strip away the thinly veiled arguments of their detractors. The lyrics serve as an empowerment anthem, utilizing classic hip-hop flexing—bragging about wealth, weapons, and stealing partners—as a tool to assert superiority over bigots and chasers (people who fetishize trans individuals). Ultimately, the song conveys that marginalized individuals do not have to be passive or polite in the face of hatred; they can be loud, abrasive, and completely unapologetic.

NASTYWERKKKK! serves as a blistering, high-octane verbal assault delivered primarily by ISSBROKIE against detractors, bigots, and the alt-right. The narrative immediately establishes a combative stance, aggressively questioning anyone who doubts the narrator's supremacy with the confrontational opening, Fuck do you mean I ain't her? The speaker boldly proclaims that doubting them or speaking ill of their crew will result in severe, nasty consequences, bragging that anyone who tries to test them will have their whole pack destroyed. There is a strong undercurrent of rejecting unearned confidence from critics who haven't achieved their own success first, emphasizing that the narrator's financial success and relentless grind legitimize their power and untouchable status.

As the lyrics progress, the narrator outlines a ruthless approach to dealing with disrespect. They make it clear they will not stop their momentum for anyone, threatening violence and asserting dominance while heavily indulging in cannabis until their vision blurs. The imagery is chaotic and uncompromising, presenting the narrator as an unstoppable force willing to get rowdy and run enemies out of their own county. The tone remains intensely confrontational throughout, demanding immediate respect and compensation up front before any business is conducted. The narrator establishes themselves as a powerhouse who refuses to be played or underestimated by anyone in their path.

A significant thematic pivot occurs when the aggression focuses directly on political and social adversaries. The narrator compares themselves to the fast-paced video game character Tracer, boasting about being heavily armed and delivering a pointed, highly specific threat to conservative commentator Matt Walsh, claiming they will hit him with a laser. This cements the song's status as a fierce anti-transphobe, anti-alt-right anthem. The narrator explicitly denounces chasers and haters, dismissing those who are obsessively negative while the narrator remains focused on accumulating wealth. The track then solidifies its political stance, observing that their opponents do not actually care about human rights, but are simply alt-right, drawing a clear line in the sand between the narrator's community and bigoted adversaries.

In the final verses, the narrative blends classic hip-hop flexing with absurdist, hyper-online imagery. The speaker describes feeling like Macaulay Culkin while trapped in a defensive state, flexing about stealing their enemy's partner and humorously claiming they might be polyamorous because of how many of the enemy's family members they have seduced. The chaotic energy culminates in a carefree, Hakuna Matata attitude toward their own wild lifestyle, pledging allegiance only to their money and the drama they actively create. Ultimately, the song is a furious, triumphant reclamation of power, blending aggressive braggadocio, political defiance, and internet-era surrealism into a singular, uncompromising narrative of survival and dominance.

NASTYWERKKKK! was released on March 7, 2025, as a collaborative single between the Toronto-based digital hardcore project femtanyl (helmed by Noelle Mansbridge/Stockwood and drummer Juno Callender) and underground rapper/vocalist ISSBROKIE. The track was entirely produced by femtanyl, showcasing her signature style of blown-out breakbeats, high-BPM chaos, and webcore aesthetics.

The collaboration brought together two artists deeply entrenched in the internet music underground. femtanyl had been rapidly gaining popularity in the online furry and trans music scenes for her aggressive, cathartic sound, while ISSBROKIE was known for her high-energy, screamo-rap vocal performances. The song was written as a direct response to the rising tide of anti-trans rhetoric online and in politics. The specific lyric threatening conservative commentator Matt Walsh became a defining element of the song's creation, cementing its purpose as a political statement wrapped in a club-ready, digital hardcore track.

The rhythmic structure of the song is defined by its blistering, high-BPM breakcore foundation. The drum programming features frantic, heavily chopped breakbeats that create a sense of relentless forward momentum. To match this, ISSBROKIE's vocal delivery is highly syncopated and rapid, locking into the chaotic groove of the percussion.

The rhyme scheme primarily relies on tight AABB and AAAA patterns, especially during the rapid-fire verse sections. For example, the sequence rhyming nobody, about me, around me, cloudy, county, rowdy, and bounty uses repetitive slant rhymes and assonance (the ow-ee sound) to create a hypnotic, machine-gun-like vocal effect. This relentless rhyming technique mirrors the aggressive, unyielding nature of the instrumental beat, resulting in a cohesive wall of rhythmic aggression where lyrics and music are completely intertwined.

Musically, NASTYWERKKKK! is a masterclass in digital hardcore and breakcore production. femtanyl utilizes severely distorted breakbeats, glitchy synth lines, and an aggressively fast tempo to create a wall of sound that feels both overwhelming and euphoric. The production uses extreme audio clipping and compression as stylistic choices, mimicking the sensory overload of internet culture.

Lyrically, ISSBROKIE employs a screamo-rap delivery, blending the rhythmic flow of hip-hop with the raw, throat-tearing aggression of punk and metal. The song makes heavy use of hyperbole and braggadocio, exaggerating the narrator's wealth, sexual conquests, and capacity for violence to comedic, intimidating heights. Techniques like internal rhyme and rapid-fire assonance are used to keep up with the frantic BPM, allowing the vocals to function rhythmically as an additional percussive instrument within the chaotic mix.

Since its release in early 2025, NASTYWERKKKK! has become a significant anthem within the underground webcore, femtcore, and digital hardcore scenes, particularly resonating with transgender and queer youth. femtanyl's rapidly growing fanbase embraced the track for its unfiltered aggression and unapologetic political stance.

The song's direct, violent callout of a prominent conservative figure caused ripples in online music communities, sparking discussions about the role of digital hardcore as a modern form of punk protest music. It solidified femtanyl's reputation as not just a boundary-pushing electronic producer, but also a vital voice for marginalized internet communities. The track is frequently used in online edits, animations, and TikTok trends, highlighting its broad cultural reach among chronically online, alternative youth.

The song employs several vivid metaphors and pop culture symbols to enhance its aggressive posture. The reference to the video game character Tracer (Two Glocks, big ass like Tracer) is significant; Tracer is a fast, dual-wielding, canonically queer character in the game Overwatch, symbolizing the narrator's speed, danger, and queer identity. The namedrop of Matt Walsh serves as both a literal threat and a broader symbol for systemic transphobia and the conservative media machine.

The narrator also compares themselves to Macaulay Culkin in Home Alone (In the trap, home alone, feel like Macaulay Culkin). This clever metaphor likens being in the trap (a place of drug dealing or a challenging environment) to defending one's home against unwanted intruders (haters or bigots) using unconventional, booby-trap-like methods. Additionally, claiming to be staying in that H2O like a dolphin symbolizes being completely in one's element, untouchable and fluid, contrasting with the rigid, structured hate of their enemies.

The most prominent recurring phrase is the song's central hook: Fuck do you mean I ain't her? / Boy, that's nasty work. This phrase acts as the ideological anchor of the track. By asking Fuck do you mean I ain't her?, the artist demands recognition of her identity and status, treating any denial of it as an absurd, nasty insult. Its repetition reinforces the theme of unshakeable self-confidence.

Another vital motif is the juxtaposition of political commentary with typical rap flexes, encapsulated in the lines: I let haters die, I let fuckboys cry / You don't care 'bout rights, you just alt-right. By repeating this sequence, the song continuously grounds its chaotic, boastful energy in a very real, politically charged reality, ensuring the listener does not lose the anti-fascist message amidst the aggressive club production.