When success finally arrives and increases the number of possibilities, how many 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 how life changes and remains the same when you win over critics, peers, and the world. In her debut on XL Recordings after gaining momentum with milk thot, the Chicago singer, producer, and multi-instrumentalist applies her jazz foundations via parallel education as part of the hip-hop generation to expand the valences of the R&B and soul she creates, adding auto-tune or jungle breaks to the complex and ambitious equation. Before, the authorial will took her from the American Midwest to the East Coast: after being a saxophonist in sessions with emerging artists of that time like Mick Jenkins, Chance The Rapper, Noname, or Vic Mensa, New York and its vibrant music scene (more specifically at the intersections of 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 against the possibility of being evicted; with an SP-404 and a microKORG in her arsenal, the sound became a concrete vision of residues 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 community spirit reveals itself in other ways outside of that: she produced three tracks on weight of the world, an album by MIKE, 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 disconcertedness of the debut album gave way to some rigidity (also purposeful) in the second long-form: 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 is communicating 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 immersed herself in parts of the discographies of Kanye West (from 808s & Heartbreak), Nine Inch Nails, Aaliyah, Brandy, Air, Michael Jackson, or the Brazilian Fernanda Dias. AR.