When success finally arrives and increases the number of possibilities, who can withstand the pressure of that stretch? hooke's law, keiyaA's second album, is a set of answers and reflections on that question, thinking about the ways life changes and stays the same when one conquers critics, peers, and the world. On her debut for XL Recordings after gaining momentum with milk thot, the Chicago-based singer, producer, and multi-instrumentalist applies her jazz foundations through parallel education as part of the hip-hop generation to expand the strengths of the R&B and soul she creates, adding auto-tune or jungle breaks to the complex and ambitious equation. Before, the authorial desire took her from the American Midwest to the East Coast: after being the saxophonist in sessions with emerging artists of that era such as Mick Jenkins, Chance The Rapper, Noname, or Vic Mensa, New York and its effervescent music scene (more specifically in the intersections between jazz, rap, and experimental) empowered her to finally emancipate herself in 2020. In Forever, Ya Girl, she sought the respect of producers like Madlib while fighting the possibility of being evicted; with an SP-404 and a microKORG in her arsenal, the sound became a concrete vision of remnants that Loop Digga, Erykah Badu, or Solange left in the atmosphere. If in her records she surrounds herself mostly with herself (the exception is rapper RahRah Gabor on 'this time'), the communal spirit reveals itself in other ways outside of that: she produced three tracks on weight of the world, MIKE's album, remixed tracks by Nubya Garcia, Nilüfer Yanya, Bartees Strange, or Kokoroko, and added soul to songs by Armand Hammer, Maxo, Loraine James, E L U C I D, or Mount Kimbie. They are interior and exterior excavations in avant-garde adventures in the company of some protagonists of electronic music and less conventional rap from different continents. The intentional disconcert of the debut album gave way to some rigidity (also with purpose) on the second long-player: the setup (whether of machinery - Octatrack, modular synthesizers, and Ableton - or lifestyle) makes the music and that is what we hear in the set of 19 tracks, reminding us that she is a contemporary of Kelela, Yaya Bey, and Erika de Casier without forgetting who communicates with us. Someone who hates landlords ('i h8 u') or someone who wants to have fun in good company ('k.i.s.s'), for example. But also someone who studied and delved into parts of the discographies of Kanye West (from 808s & Heartbreak), Nine Inch Nails, Aaliyah, Brandy, Air, Michael Jackson, or the Brazilian Fernanda Dias.