The Malaysian-British artist approaches pop with an almost surgical precision, ensuring each hook and every vocal flourish is calibrated down to the last detail. And, for the most part on , her mixtape debut, the results are hard to find fault with.

Qisha has never hidden her admiration for Swedish pop icons ABBA and their influence is salient right from the get-go. 's lead track "YDH" – young, dumb, and horny – pulls some of its cues from the flawless "Mamma Mia", with rhythmic percussion that reminds of ticking clocks. Instead of agonising over romantic troubles in true 1970s fashion, though, “YDH” establishes the mixtape’s consistent exploration of sex and sexuality, smouldering with Qisha’s husky tone as she croons unabashedly raunchy lyrics.

Less successful is “Question of the Day”, essentially a modern take on ABBA’s 1979 hit “Voulez-Vous”. Both songs centre on sexual overtures set to a disco-infused backdrop, but the subdued production in “Question” comes off a bit more lethargic than sensual. The result is serviceable, if indistinguishable from a mid-tier Dua Lipa cut. Third track “Baby Girl”, however, quickly makes it clear that won’t stick to just one shade of pop. Here, Qisha sheds the ABBA inspo in favour of an indie alt-pop sound straight out of the 2010s; over its funky guitar riffs and summery synths, she wrestles with attraction and envy alike toward another woman.

False-start ballad "He Likes Boys" threatens to bring some unexpected gloom to the proceedings, but then the beat drops, synth and piano lines ripple, and Qisha's bait and switch is complete. "So Sad So Hot" tackles similarly melancholic themes but with more straight-up pop panache; its arpeggiated synth lines are killer, with glimmers of "Radio Ga Ga" by Queen wrapped up in a more danceable package.

’s most captivating and experimental moments lie in “Possessed (in a hot way)” and “Cry About It”, which – coincidentally or not, given the album’s release date – flirt with themes of horror. "Cry About It" is especially fun when, with no explanation or warning, an eerie, -worthy mid-section interrupts Qisha's bubblegum-meets-new-wave pop.

“Possessed (in a hot way)” is brimming with references to spooky season staples; witchy childhood game “light as a feather, stiff as a board” pops up repeatedly, and falsetto s instantly bring werewolves to mind. It's all delivered with a playful and dynamic instrumental that refuses to stick to one mode or tempo, gliding through Qisha’s signature disco-pop, airy balladry, and blends of both, and her voice has never sounded so exquisite.

It all adds up to an incredibly self-assured piece of work. Qisha’s timbre may be smoky but is smooth to its core. It could perhaps have gained from being slightly rough around the edges, but its polished pop power still holds an undeniable appeal.