People who are chronically online start preparing for all of the pranks people pull on social media for April Fools’ Day the day before. Usually, your algorithm will perfectly tailor fake announcements for you to get you excited until you realize it’s a lie. I thought Los Angeles native DJ Sonny Moore, aka Skrillex, was getting in on the fun when he posted his album announcement.

On March 31st, Skrillex followers on Instagram were greeted with a reel of a black screen and six build-ups that led to nothing. There were people in the comments who expressed how excited they were for him to drop something, and I assumed they were all getting duped. Even though this post followed Skrillex’s Ultra Festival performance where he debuted nine new songs, an album drop still seemed far-fetched. 

In the morning hours of April Fools’ Day, I’m sure many others, skeptical like myself, were pleasantly surprised to find they were wrong, as Skrillex released his fourth studio album affectionately titled F–k U Skrillex You Think Ur Andy Warhol but Ur Not!!<3 (abbreviated to FUS).

DJ Smokey hosts the album which contains plenty of voiceovers from internet legend Shadoe Haze (from the “damn son, where’d you find this?” Vine fame). Although this album contains some ironic tone throughout, this project is no joke. Many fans were waiting for Skrillex to return to his dubstep roots, and this album provides plenty of that and more. This album has it all; techno, bass, dubstep, house, and plenty of unhinged genre blends. 

Skrillex is known for his production prowess, and that is on full display here in a way that is both nostalgic and boundary-pushing. There are plenty of moments on FUS that harken back to the beginning of Skrillex, whether that be chord progression that stems from metal, emo vocal samples, and ear-slicing wubs. Not only that, but some cuts are semi-remixes of older songs, such as “MORJA KAIJU VIP,” “TEARS LOST DROP,” “THINGS I PROMISED,” and plenty of subtle nods throughout.

The album is structured in a way that is meant for you to listen to it from front to back without skipping (as told to you by DJ Smokey on the first track). All of the songs are mixed together, and the transitions don’t always come at the beginning and end of the tracks, which makes for a gripping experience. If you were to listen to the songs in a random order, this project would sound all over the place. However, listening to FUS how it’s served to you reveals a magnificent feat in making all of these styles blend together seamlessly. It’s essentially one long song that takes you on an enchanted, futuristic journey. 

After the intro, you are immediately transported to bass land on “SPITFIRE” containing a cheeky vocal sample from Hawaii Slim. After listening to the nostalgically fueled “TEARS LOST DROP” and “THINGS I PROMISED,” you are greeted with two of the most insane endeavors Skrillex has put out to date. 

“RECOVERY” featuring Space Laces contains a synth-bass combination on the drop that sounds like space laser beams. “ANDY” is arguably one of the most well-put-together and ambitious Skrillex songs ever. It starts with a bouncy R&B beat that sounds like it was meant for one of his collaborations with Justin Bieber, then transitions into an industrial drop that sounds like a factory burning down, then transitions into a drop with a haunting vocal sample that makes you feel like you are going to war with Timothee Chalamet in Dune 2.

Immediately following that may be the hit from this album, “SQUISHY CLIP,” which contains an irresistible, gelatinous bass throughout the track. “GULAB XX” and “MOMENTUM” contain some of the most exciting vocal features from the album in Naisha and Zacari respectively, while “MIRCHI TEST” and “MORJA KAIJU” hold exhilarating song structures and climaxes that are beyond cinematic.

There’s something good to say about nearly every song on this album, with exciting production features from the likes of Fred Again.., Wuki, Whitearmour, and more throughout. The last three tracks on the album close out this fan-tailored experience expertly. “SAN DIEGO VIP” contains the chainsaw/electric guitar synths that supporters have come to know and love as a Skrillex staple stemming back to his cult-classic 2011 project Scary Monsters and Nice Sprites.

The revival of the unreleased “VOLTAGE” was another nostalgic moment for die-hard Skrillex fans who believed this song would be lost in time. The original vocals that are packed with sentimental value coupled with the improved drop provided by Skrillex’s evolving skill set made for one of the best moments on the album on the second to last song. 

The outro track continues with the album's tongue-in-cheek nature as Shadoe Haze reads off the features like movie credits, backed by an ethereal instrumental. All of his interjections and tags throughout the project give it the feel that Skrillex is really having fun with this one. As this was his last project with Atlantic Records, it makes sense that he would let everything loose like he did here.

FUS is GNX for Skrillex fans and bassheads in general. On GNX, Kendrick Lamar exercised his freedom from the label he was signed to by dropping an album that he wanted to drop, and that he knew fans would appreciate. Incorporating the West Coast sound and just sounding like he was having fun on the project is something that supporters love to hear. Skrillex had the same liberated energy with this album.

He brought back the sound that garnered him the foundation of his fanbase, even though that sound isn’t necessarily the “cool” thing in the EDM space at the moment (although that is subject to change following the waves this album makes). The sheer amount of features on this 46 minute project coupled with the funny narration found throughout creates this feeling that Skrillex was in the studio having fun with his friends, celebrating his venture in finally becoming an independent artist.

While FUS is a celebration of the past, it also feels like the closing of a chapter in Skrillex’s career, with the promise of a new chapter ahead. The vision of where he may go next seems clear. Skrillex has the freedom to pursue ventures in music wherever he wishes to go, and based on this album, that freedom will result in awesome projects. He loves pleasing his fans, and he loves experimenting. If that continues to be the norm, we can expect even more great things from Sonny Moore in the future.

Quadeca has been reshaping and defining the genre of art pop throughout his last two album releases and is continuing to do so leading up to the release of his new album Vanisher, Horizon Scraper.

I Didn’t Mean to Haunt You showed a refined aesthetic and production mastery and Scrapyard showed the range of styles that Quadeca can conjoin into his sound. Both albums were received with massive critical acclaim and began the growth of his fanbase. His new single “GODSTAINED” shows that there is more evolution ahead and a glimpse of what that may look and sound like. 

The lead-up to Vanisher, Horizon Scraper thus far has contained many teasers of the aquatic-quest visual aesthetic of the album and various snippets of tracks. “GODSTAINED” gives us the first true indication of the album's sonic direction, accompanied with a music video as well. 

Expectations were high for this lead single, and those expectations were completely blown out of the water. The song combines an acoustic ballad filled with creative vocal melodies with ethereal folk instrumentation, complete with heavenly strings and flutes.

Although this may seem like a lot to work together in one song, it comes together in amazing fashion. The marriage of a more imaginative Beatles cut with the vocal layering and artistic vision of something on Tyler, The Creator’s Flower Boy or IGOR is the first thing that comes to mind when trying to compare it to something, while still having the distinguishable, momentous Quadeca production style.

His inventiveness is on full display in this song. The climax and overall ebbs and flows of the song are not as grand as something on I Didn’t Mean to Haunt You, which really just plays to the song’s strengths. The track allows you to be fully immersed in the instrumentation and reverb of the song, enhancing the feeling of being washed over by a wave of strings and drums put together in a whimsical melody.  

The chorus is unique, while still being infectious. The lyrics point to this new project being another concept album, as this reads like a story within a story. Quadeca talks about finding a glass bottle with something inside (as a sailor in any story would) and hoping it contains some kind of information that would be helpful to him. 

It appears he is searching for someone or something and wants the bottle to contain some sort of hint or direction towards his goal. It doesn’t, but he continues to hold onto the bottle for a long time as he wants it to reveal its meaning, but holds onto it for too long to where it ends up hurting him, as shown by the lyrics “fiberglass affliction, can I mess up any day?”

The music video adds more to the narrative, as it shows Quadeca sailing, searching for something wistfully, and dancing around a bunch of old, rusted ships. It reflects the symbolism of some of the lyrics and themes of the song and is worth the watch to get more of a feeling of the vibe of the track.  

With “GODSTAINED,” Quadeca isn’t just setting the stage for his forthcoming album; he’s reminding us that he’s not afraid to push the boundaries of genre, concept, and sound. The journey that begins with this track promises an exploration of both personal and musical transformation while being an odyssey that will keep listeners on their toes. 

If “GODSTAINED” is any indication, Vanisher, Horizon Scraper will be an album that’s impossible to ignore, full of surprises and moments of artistic brilliance.

Tyler, The Creator is an American rapper, producer, and designer known for his eclectic musical style and descriptive lyricism. He gained fame as the leader of the alternative hip-hop collective Odd Future, which influenced an entire generation of artists. Beyond music, he is also recognized for his fashion line, Golf Wang, and his creative ventures in television and film.

        Tyler, The Creator made his big return on Monday morning, October 28th, with his new album Chromakopia. “Noid,” the single for this album, left fans perplexed but excited to see what direction Tyler would take this album. The song included an electric guitar lead, gritty production, and was coupled with a music video that put Tyler’s creative vision on display.

        The vision for the album seemed dark from the promotional material and the single. The music video and other videos preceding the album were black and white featuring grungier sounds and instruments and vocal performances from Tyler. There were splashes of color in the promotion, and that vibrance of color was what was actually reflected the most in this project.

        The album starts off with “St. Chroma” and “Rah Tah Tah” which both function as introductions to different facets of this album. “St. Chroma” shows off the production that this album will contain, with marching drums and a menacing instrumental that transforms into a beautiful eruption of sound, while “Rah Tah Tah” is Tyler once again proving that he is one of the most talented rappers alive on an explosively energetic instrumental.

        “Darling, I” is the most likely track to be a hit on this project, containing a beautifully composed r&b instrumental with a chorus that you could not pull out of your skull if you tried. Teezo Touchdown’s vocals on this track tie it all together, making it hard to not leave this track in a better mood after listening to it no matter what mood you were in previously.

        The tracklist pivots after this track into “Hey Jane,” which is one of Tyler’s most important tracks to date. The mellow, smooth instrumental lets you focus on the story that Tyler is telling. He raps from the perspective of himself and a woman that he got pregnant as they are contemplating an abortion.

        The track is full of raw emotion. Tyler is trying to be as supportive as possible, but knows that he will never truly understand the emotions the woman is feeling. As he raps from the woman’s perspective, he is showing the thought process behind both paths they could choose. Tyler does a fantastic job of conveying the emotions to the listener in a way that most people can connect with.

        This track comes at a very important time, when there are people in the government who want to take bodily autonomy away from women. Tyler shows in this track that abortion is not an easy decision. He does a great job of attempting to destigmatize the situation, and humanize it for those who have the perspective that women should not have the right to choose.

        The next three tracks make for an incredible run on the album. “I Killed You” has an inventive, unique beat in the first half of the song with slapping drums and guitar plucks formulated into a hip hop beat, followed by a beautiful transition into the back half of the song with an instrumental that feels like you are sitting in a garden, with heavenly Childish Gambino vocals to top it all off.

        “Judge Judy” comes next, which features Tyler taking some massive risks vocally and on the production side; all of which pay off. Childish Gambino appears again, harmonizing with other vocalists in-between Tyler verses which makes for a one-of-one Tyler, The Creator track.

        Following that is one of the most fun tracks on the album. “Sticky” sees features from Glorilla, Sexyy Red, and Lil Wayne, which are all short but pack a punch in this song. The instrumental is grand and hard hitting, and the chorus is another one that is sure to stick with you for a long time after you hear it just once.

        There are plenty of great moments in the back half of this album, but the biggest one has to be “Like Him.” The song opens with a monologue from his mom, talking about how Tyler has all of his father’s physical features (legs, hands, etc.). The song centers around Tyler expressing how not having his father in his life has affected his well-being, and how having some of his personality traits have made him do things in life that maybe he wouldn’t have done otherwise.

        The mark of a generational artist is when their storytelling is unrelatable to the listener, but the way they craft their lyrics puts the listener in their shoes emotionally, and makes them feel everything they want them to feel. That is exactly what Tyler does in this song. Although it is not his most graphic song, it may be his most emotionally open, which makes for an absolute heart-wrencher. This one is a must listen.

        Whether or not this album will age into Tyler’s best is yet to be seen. What has been seen so far is the impact this album has had in just one week. It is projected to sell almost 300k units in the first week with every song on it occupying the top 14 spots on the Billboard charts, and placed Tyler as the #1 most listened to artist on Spotify, dethroning Taylor Swift. The only other artists to dethrone Taylor this year have been Kanye West, Beyonce, and Eminem, putting Tyler in some pretty elite company (which has caused “Swifties” to try everything to cancel Tyler and remove him from the top spot with no success, but that’s a conversation for another day).

        We are extremely fortunate to witness the progression of Tyler, The Creator as an artist in real-time. He has grown into an undeniable top 3 hip hop artist of our generation. He is unique, inventive, and proved himself once again on Chromakopia. Hopefully he doesn’t make us wait too long for his return.

With the lack of interesting releases this week, and this week’s promotion of interesting releases to come, the main way of promoting these album releases is becoming an important topic of discussion. Although the form that these promotional pieces come in and the way they are accessible has changed over the years, it is still the main way for artists to draw attention to their upcoming albums.

        Singles leading up to the release of an album became very prevalent in the late 2010s with the power shifting towards music streaming platforms. This allowed artists to attract more attention to their page with new music before their album dropped. However, this practice has been popular since the 1980s when many metal bands began releasing a lead single before the release of their album.

        Singles are meant to give the fans a teaser of the album, and give fans a sense of what direction the album may be taking. With these singles, fans are able to give discourse around the album before it releases, building hype up to the release. You can see this in real-time now with what Tyler, The Creator has released in the build-up to his eighth studio album Chromakopia.

        Tyler released a music video on YouTube that showcased a snippet of a song from the album, teasing features and the sonic palette that the album may be including, which encourages fans to hypothesize on these elements of the album. “Noid” was released in the following days, and is the lead single for Chromakopia. The song features a completely new sound for Tyler, with lead electric guitars, a tight bassline, while still featuring classic Tyler production.

        He puts his rapping ability on full display in this undeniably special track. However, it is very unlikely this song will be a radio hit. It is unconventional, experimental, and could possibly be off-putting to people who are unfamiliar with Tyler’s music. The song is spectacular. From the production to the instrumental to Tyler’s rapping, the track is great. But, it is unlikely it will be a mainstream hit. 

With that said, what is the purpose of this being a single?

Obviously it’s to promote the album and show that Tyler is going in a new direction and still at the top of his game. But it is unlikely this will be the hit from the album, and it is even more unlikely that this will be the best song from the album.

Tyler is a unique case when looking at singles because of how he operates creatively. When looking at other artists, the trends of how good their singles are in comparison to the other songs from the album, and if the singles are the hits from the album are much different.

      Short n’ Sweet by Sabrina Carpenter was one of the biggest pop album releases of the year, and is an example of an album with its singles being the biggest hits and best songs from an album. “Espresso” and “Please Please Please” preceded the album, and were both massive hits, peaking at #3 and #1 on the Billboard charts respectively.

        These two songs are both widely regarded as two of the best songs on the album. They both rank in the top 4 songs on the album according to fans ranking the album on albumoftheyear.com, and both rank in the top 3 according to a poll on Reddit. The pair of singles contain the catchiest choruses and most satisfying instrumentals on the album, which makes them being the singles make sense.

        However, having the best song or songs on the album being the singles does pose a problem for the artist going forward. Artists who have the best song on the album as their single take the risk of fans seeing their album as a let down. If the rest of the songs do not live up to the singles, then fans may feel like they have less of a reason to commit the time to listen to the artist’s album in the future.

        It is important for the artist to have songs in their album that are at least better than the single to their album. This makes fans want to listen through the whole album because of the prospect of them finding a song that they like more than the single.

        An excellent example of this, remaining in the pop space, is Harry’s House by Harry Styles, his most recent album release. The first single for this album was “As It Was,” debuted at #1 on the Billboard charts. It was a massive success with an earworm of a chorus, a polished instrumental, and phenomenal verses.

        When the album finally released, “As It Was” was generally not chosen as the best song from the album, while still being a great song and being the biggest hit from the project. Three other songs from the album were released as singles following the album because of the positive feedback surrounding them, demonstrating the quality of music in the project.

        According to the Harry Styles subreddit, “Matilda,” “Little Freak,” and “Satellite” are the top three best songs on the album, preceding “As It Was.” Although “As It Was” ranked as the best song by fans on albumoftheyear.com, it narrowly edges out the other songs from the album.

Having this song as a single was a fantastic choice, as it was the commercial hit from the project. Having more songs on the project that were even better than the single made fans appreciate this project more than an album with a single that outshines the rest of the album. Not only does this make listeners like the album more, but it makes them want to listen to an album by him in the future because they know that there is more quality music to be found.

The art of selecting a single is a tricky process for artists. There are a couple routes they can take that lead to success, like choosing a song that they know will find commercial success, or choosing a song that is good, but is released mainly with the purpose of showcasing the potential sonic palette of the album. Choosing the first route is much more risky if you don’t know if the rest of the album will be appreciated as much if not more than the single.

The evolving landscape of music promotion highlights the critical role of singles in building anticipation for upcoming albums. While some artists, like Tyler, The Creator, opt for unconventional tracks to showcase their creativity, others, like Sabrina Carpenter and Harry Styles, strategically release catchy hits that resonate with fans, taking the risk of the rest of their album leaving fans satisfied. Ultimately, selecting the right single is a delicate balance between commercial appeal and artistic expression, as it sets the tone for the entire album and shapes listener expectations.

As long as streaming platforms exist, singles leading up to albums will exist as well. The thrill of seeing a new song by your favorite artist and the prospect of an album connected with the song will always be exhilarating.

One of the artists who has gained the most traction and attention this year has been Chappell Roan. If you have heard “H-O-T T-O G-O, you can take me hot to go” and thought that was catchy and wondered who sings that song; it’s Chappell Roan.

        Her 2023 record “HOT TO GO!” started climbing the charts after she opened for Olivia Rodrigo on her most recent tour. Eventually the song peaked at number 16 on the US charts, went viral on social media, and sent her into the stratosphere.

        The song is infectious. From the funky synths and booming drums on the instrumental, to the cheerleader chorus and catchy lyrics, it is impossibly hard to detach this song from your brain.

        “HOT TO GO!” is featured in her latest album The Rise and Fall of a Midwest Princess, which has been going viral online with music reviewers and influencers reviewing and listening to the album this year even though it was released in 2023. Her album was slept on by the majority of music listeners until it started gaining traction, and people started realizing the terrific body of work she put out.

        Pop music is back to leading all other genres, and Chappell Roan’s album shows why this can be a good thing. It is a unique album where Roan showcases her tremendous singing talent and wears her influences on her sleeve in a way that pays homage to the greats of pop.

        There are parts of this album where you can see the influences of Lana Del Rey, ABBA, and more translated into Roan’s style and imaginative storytelling. Her vocal range on this album is amazing, with the likes of Cindy Lauper coming to mind as a comparison. What makes this album special is that no matter who you compare parts of this album to, it does not take away from this being Roan’s album.

        The album starts out with an upbeat banger in “Feminominon” and transitions quickly into one of the best vocal performances on the album in the song “Red Wine Supernova.” “Coffee” and “Casual” pair together nicely with some linear and descriptive storytelling that puts you in her shoes and leaves nothing to the imagination, while still being eloquent and creative.

        You would have to pick this album apart to find a low point, as every song remains enjoyable in its own way. The production on this album is good, and the few times it lacks an inspired instrumental, Roan makes up for it with her vocal performances. She does not miss on this album.

        Her ability to go from her head voice to her chest voice and switch between the two is impressive versatility which is rarely seen in music in general. It would not be an outlandish statement to call Roan a generational talent in singing, with no signs of her letting up.

        “Pink Pony Club” is a standout on this album for many reasons. Aside from sounding like the best hypothetical collaboration between ABBA and A.G. Cook, this song pries your eyes open to a story about staying true to yourself in volatile conditions.

        She talks about how she can still hear her parents’ voices asking her what went wrong with her when she is just trying to be herself. She finds solace in the safe places in her life, while still realizing that there are people who do not get the luxury of a break from torment, and cannot outwardly be themselves.

        Writing about this song does not do it justice. You really have to put this song on to fully understand why not just this song or album is special, but why this artist is special. Once you press play, the contrast of the upbeat instrumental and the harrowing yet heartwarming vocals and storytelling will immerse you in her world.

        Impeccable vocals, inspirational storytelling, and a bright future for pop music are the big takeaways from this album. There are more songs that I didn’t touch on that are fantastic listens. You can really hit play from anywhere and find something enjoyable.

Chappell Roan already has the voice to be a global sensation. If she can keep pushing the envelope and evolving in her music, it will be hard not to know who Chappell Roan is.

Magdalena Bay is an indie/art pop duo hailing from Los Angeles, known for their dreamy soundscapes and catchy melodies. Composed of Mica Tenenbaum and Matt Lutz, the pair blends nostalgic pop influences with modern and experimental production techniques, creating a unique sonic identity.

        Matt centers his contribution to the duo around production and instrumentation, rarely diving into some background vocals. Mica handles the vocals in a way that separates Magdalena Bay from other pop artists and groups that are out right now. Her tonality and style of singing is futuristic and transportative which pairs perfectly with Matt’s style of production, especially for this new album.

            Imaginal Disk is one of the most creative pop albums in recent memory. It captures the feeling of a dystopian utopia through the atmosphere curated. The influences for this album are baked perfectly into the mixes without becoming obvious or distracting at all.

            Imaginal Disk explores every crevice of the creative confines it creates for itself in this concept album, and is unpredictable the whole time. You feel like you are listening to the future of pop, appreciating its influences, and finding unexplored areas of pop all in one project.

The album opens up with the industrial, fuzzy feeling track “She Looked Like Me!” and the synth-pop banger “Killing Time” before transitioning into the meat of the album with “True Blue Interlude.”

The first three tracks provide all the convincing the listener would need to assume that this album would at least be an enjoyable listen, followed by “Image,” one of the masterpieces on the album. Not only a song that avoids conventionality, but that should be astronomically larger than it currently is.

“Image” has an alluring synth pop instrumental mixed with some house style drums that you might hear in the movie Blade before the beast drops and the blood turns the club-goers into vampires. If you can avoid gyrating and moving your body when the chorus gets introduced, then you should consider yourself a stronger person than most.

The song culminates in an epic climax, with the combination of all of the elements of the song, the chorus, and an added filthy bassline that shakes speakers, and is absolutely irresistible. Do not be surprised when this song is high on my top songs of 2024 article later this year. There’s so much to say about this song, I will leave it at “irresistible” for now.

What is amazing about this album is that it does not falter after this song, and the rest of the album is not even remotely outshone by “Image.” “Death & Romance,” “Fear, Sex,” and “Vampire in the Corner” are the next three songs, and become more personal along with taking more creative risks.

They remain within this utopian pop-scape that has been created, while making the mixing a bit more darker to fit the aesthetic of these songs. The themes expose more about Magdalena Bay than has been shown before, while simultaneously making you feel like you are sitting by the last tree in Blade Runner 2049.

“Love is Everywhere” is another high point on this album. Magdalena Bay pulls influence from Tom Tom Club in this song while interpolating Lil Yachty’s “running out of time” while changing the lyrics in the chorus to “love is everywhere.” It is hypnotizing, harmonic, and makes this combination of influences its own.

“That’s My Floor” could be another radio hit on this album. Mica effortlessly sings an earworm of a chorus on this song which has a futuristic, funky instrumental that Christina Agulera would have killed for. This song has the base of a hit pop song, while building on it in an unexpected way, which is the connecting theme of this album.

The common thread of Imaginal Disk is risk taking that pays off. Magdalena Bay creates this world that the listener can live in, containing a representation of what the good and bad of the future could sound like. There’s parts of this album that could be part of the soundtrack for a utopian future movie, and parts of it that could mirror that perfectly on the dark side.

Magdalena Bay deserves all of the praise they have been receiving for this album, and even more attention from it.  Some critics have been comparing the innovation this album has to the likes of Random Access Memories by Daft Punk.

If you have not listened to Imaginal Disk yet, it is absolutely worth the listen, and is one of the best albums released this year.

Glaive is an emerging artist known for blending elements of pop, alternative, and emo music into a distinctive sound. With emotionally charged lyrics and catchy melodies, he has quickly gained a following, resonating with listeners through themes of love, heartbreak, and self-discovery.

His unique style and youthful energy have positioned him as a prominent figure in the contemporary music scene. At just 19 years old, his youth makes him relatable to his fanbase, and his ever-evolving style makes him stand out.

Glaive’s evolution as an artist thus-far is more than most artists could wish they could forge their style throughout their entire careers, let alone just three years. He has successfully tried out multiple genres while doing them in his own style.

Glaive burst onto the scene with the critically acclaimed album Cypress Grove, which played a role in helping hyperpop gain more traction. The album was more focused on his vocal performances and storytelling over hyperpop instrumentals. When compared to 100 Gecs and other popular hyperpop artists of that year, this album provided a more accessible introduction into the hyperpop space, as it had some familiar qualities of other genres to new listeners.

Glaive continued to push his style in his next album, All dogs go to heaven, which was a mix of alternative and hyperpop. His third studio album, I care so much that i don’t care at all, saw glaive go fully into the indie/alternative/post-punk space in his most personal album to date  (although it is not uncommon to see Glaive dive into his personal experiences).

All of this leads us to October 11, 2024, when Glaive releases May It Never Falter. In the months preceding this album, Glaive took to Twitter and Instagram to post snippets from this album. The snippets seemed all over the place, with some art-folk, Quadeca inspired pieces, some gritty hyperpop cuts, and some ballads.

Fans were conflicted on how this album would sound. The general consensus was that Glaive was due for a slump, or this could be “Glaive’s Yeezus” and would be ultra-experimental and maybe not received well at first. The conversation shifted in a much different direction after the album’s release.

May It Never Falter is Glaive showing the growth he has made as an artist. Although there are several different genres packed into this album, it generally stays within the bounds of hyperpop, art-pop, and some folk ballads. This may be Glaaive’s most complete album despite all of the moving pieces, as it provides the listener with a holistic experience that keeps you guessing on the direction it will go next.

“For God and Country” is a spectacular intro to this album, as Glaive talks about overcoming depression and suicide attempts to become the confident artist he is today. The song has a terrific climax with epic rising synths and bass, and transitions beautifully into the next song “60.000 ISK,” which is a hyperpop banger and a major highlight on this album, containing tremendous energy and an instrumental that feels like it is ripping through your speakers.

“Ik” is a catchy, moody pop song with afrobeat drums that could easily be a radio hit. The album hits its only low point soon after this with “Live & Direct.” It is a surprising inclusion to this album, being a lazily produced hip-hop song featuring an uninspired Kurtains verse, but the album swiftly picks back up after this song.

The next three songs are some of Glaive’s best, back to back to back. “EVERYDOG HAS ITS DAY” is another hyperpop song full of energy with perfectly crispy synths that serves as a great pick-me-up for the back half of this album. This song leads into “Freudian” which is a hip-hop inspired song with a catchy, funky chorus delivered expertly by Glaive, put over a dank atmosphere. “Nobody’s Fault / Accept My Own” is the penultimate song on this album, and a highlight of Glaive’s discography as a whole. Glaive has a terrific vocal performance on this song that  is full of anguish, while talking about forgiving himself for his past transgressions upon others and himself.

This album is absolutely worth the listen, and is one of the most progressive, thought-provoking, and tangibly emotional albums of the year. 

Underscores may have altered the course of punk music to come with their latest album, Wallsocket. This album merges many genres, but the different directions Underscores shows punk music can go is what makes this album and Underscores so special.

        Pop, punk, electronic, and hyperpop genres are all skillfully combined by creative musician Underscores to create a singular soundscape. Their unique sound, which blends appealing tunes and reflective words, has allowed them to swiftly gain a devoted fan base.

Their experimental, lively production and moving vocals captivate listeners and produce a captivating atmosphere. Underscores is a fearless musician that never hesitates to attempt new things, which drives them to keep pushing the limits of modern music and creating waves in the business.

The wave that has been created most recently was what punk music can look like in the future. Wallsocket provides an interesting look into this idea through all of the different sounds Underscores sews together, all while being contained in an album that sounds cohesive and goes into many creative, emotional, and dark concepts.

There are so many songs on this album that could be considered as the best song on the album, and “Locals (Girls like us)” is absolutely one of those. It is one of the most accessible songs on the album as well, all while being experimental, catchy, and abrasive in a way that feels good, like an exfoliator on the bottom of your foot.

This song starts out with vocal repetitions of body parts before the song kicks off with a thudding bass reminiscent of 2000’s pop. While maintaining a surf-punk undertone, this song crescendos into an earworm of a chorus backed by brostep style synths and wubs.

Suppose that song sounded like an insane conglomeration of styles. In that case, the rest of the album continues this theme even more. “Geez louise” is the most traditional punk/ska song on the album, with upbeat drums and guitar that carry the momentum of the song. The chorus on this song can get stuck in your brain so easily, which is one of the impressive consistencies that this album has.

“Johnny johnny johnny” is a great example of post-punk on this album. The grungy electric guitar coupled with the electronic production makes this song even more electric than the aforementioned aspects of it.

This song is one of the most controversial on the album as well, as it could tow the line for some with the push and pull of experiential storytelling and romanticization. The song follows a young girl who is trying to find herself but in an environment where she must deal with groomers.

Underscores said in an interview that they do not think that the song’s message was as clear as it could have been, and that they would do the song differently if they had the opportunity to do it again.

It has been criticized by some to romanticize being groomed. This was not the intention of Underscores, as you can see in the lyrics that a lot of it is analogies and experiences that are trying to make the story captivating as well as informative. This song is well worth the listen, but proceed with caution.

I could go on and on about all of the individual songs on this album, as they are all uniquely produced, have descriptive storytelling lyrics, and bring something new to the table. An album like this shows promise in the future of punk music, and shows that it is in good hands.

Although the roots of punk run deep, it is ever evolving. Mixing it with hyperpop and other genres as Underscores does in this album is overall good for the genre. It draws attention to the genre, while evolving it for newer audiences.

Punk is a genre that will never go away, but watching it evolve in a new direction is just as rewarding as listening to the original wave-makers.

Wallsocket by Underscores was just updated with a deluxe version of the album this year, and it absolutely deserves a listen if you are interested in a young, up-and-coming artist who is paving their unique path in the music industry.

Jane Remover has solidified herself as one of the most inspiring and influential voices in the alternative/hyperpop space. Between her breakout album Frailty and her most recent album, the experimental art-rock Census Designated, she has become one of the most sought after up and coming artists in her niche.

         The progression of Jane Remover’s style has been waves of experimental success. On June 27, 2022, after the release of her debut hyperpop album Fraily, Jane Remover changed her name from Dltzk to what it is now to mark a new era in her career, aligning with her coming out as a trans woman.

         Since then, Jane Remover has made incredible leaps in quality while transforming her style, touching on art-rock, shoegaze, alternative, and more. Her 2023 album Census Designated received lots of critical acclaim while being Remover’s most personal album to date.

         On this album she displayed songs like “Lips” which had nods to early 2000’s alternative rock like Deftones while incorporating elements of shoegaze and a song structure that is nothing short of magnificent. The swells of the songs on this album was a common theme, building into what some would call a wall of noise, while others would call it a cacophony of instruments and emotions.

         This was done the best on “Fling,” “Backseat Girl,” and “Idling Somewhere,” where these songs not only built up to a tremendous climax sonically, but also emotionally.

         So far in 2024, she released four singles which are trying out an even more diverse sound palette. “Flash in the Pan” was a hyperpop/hip hop banger and “Dream Sequence” was more strictly shoegaze oriented while focusing more on Remover’s vocal talent than has ever been showcased before.

         Her most recent two releases, “Magic I Want U” and “How To Teleport” mix Brakence style production with Latin drums to create an intriguing listen that scratches an itch in the brain that you wouldn’t have known you had until you listened to these songs.

         Now with almost 200,000 monthly listeners on Spotify, 10,000 subscribers on Youtube, and millions of streams globally, the question is, will Remover’s style just be a flash in the pan? Based on the critical acclaim, climbing streams, and influence on her contemporaries, there is not a world where this would be the case.

         She recently appeared in an interview on In-Focus, with Kevin Abstract of Brockhampton fame, and Quadeca, a leading music experimentalist in the art-pop sphere and has production credits with the likes of Danny Brown and Lil Nas X. She received high praise from both Abstract and Quadeca in the interview, both of them citing her as an inspiration for the music they are currently working on.

         Anthony Fantano reviewed both of her albums on his YouTube channel, rating them a 6 and a 7, which is high praise from the music stickler. Pitchfork gave Census Designated a 7.8, and The Franklin Post gave it an 8.

         Although Remover’s influence may not be directly reflected, what is clear is the change in music that she is creating. There are more artists than ever experimenting with new sounds and creating new genres, and Remover is one of the catalysts for this movement.

         Jane Remover is available to stream wherever you listen to your music. If you are looking for somewhere to start if you are not familiar with this artist or niche, “Dream Sequence,” “How To Teleport,” and “Lips,” are good songs to begin with.