For those who don’t know, I have a YouTube channel called AwfullySus, where my friend Ethan and I share a plethora of our random ideas and conversations with the public. He loves music just as much as I do, and we were both incredibly excited to record a review video of Kevin Abstract’s new album, Blush.

Kevin Abstract was the face of the rap group Brockhampton for the entirety of its existence before they disbanded. He brought a creative direction to the group that unarguably propelled the group to the heights it reached. 

He pushed the boundaries of what rap can be by being openly gay in his lyrics and not holding back for anybody. Since Brockhampton’s end, Kevin has not stopped his creative endeavors. As a solo artist, he has released multiple albums and has been fantastic when playing the role of a featured artist. 

Blush caught my attention for a number of reasons. The first being the signaling of this album being a formation of a new Brockhampton. Kevin stated in a lot of promotions that Blush is not just the title of the record, but also an amorphous group.

This is not just any ordinary group of people coming together to make music, either. Some of the most talented producers, rappers, and singers were all credited to be on this album in the promotion leading up to its release. Some members of Brockhampton would return for Blush as well.

This album would not only be produced by Kevin but also by JPEGMAFIA and Quadeca. For the non-ball-knowers reading this, these are two of the most innovative and gifted producers in music at the moment. While not at the fame level of an A.G. Cook or Metro Boomin, JPEG and Quadeca’s production consistently surpasses the previous two producers music in quality (dm me on Instagram if you think this is a heinous take I don’t give a fuck).

Aside from the anticipated production for Blush, the talent pool for vocals was slated to be stacked as well. Dominick Fike, Danny Brown, Ameer Vann, LoveSpells, and JPEG and Quadeca were all slated to have features on this project, along with many underground artists from the Houston, Texas area (where Kevin Abstract is from and the inspiration of the sound for this album).

With that said, going into the first listening of this album, both Ethan and I had very high expectations, while also having no idea what to expect. expect. We knew it would sound. polished, but how would these artists sound on a record together when they all have such a wide range of personal sounds? And, what direction would this record even go in?

Looking back at it, going into the first listening of this album with no expectations except for perfection was the wrong lens to view this album through, because we both left the listening disappointed. Blush seemed all over the place and more driven by Kevin’s creative direction than any of the other talented artists on this project.

I come to you today with my public apology for my underwhelmed review of this album on first listen. Since that night, I have not been able to stop listening to this album, and it has grown on me massively. 

My stance on the first four tracks has not changed. I was very impressed with them on first listen and still am today. “H-Town” is a gloomy, booming start to the record with great appearances from Ameer Vann and SoGone SoFlexy. “Copy” is a tremendous follow-up to that, which stays in the hip-hop lane, although more laid-back and lo-fi. SoGone SoFlexy raps like he has something to prove again, while Kevin and LoveSpells stun vocally. 

We then transition into “Danny’s Track,” which acts as a “Solo (Reprise)” adjacent interlude for this album, but instead of Andre 3000, it’s Danny Brown. Danny crams as many bars as he can into the minute he is granted over a percussionless, acid-trip instrumental that transitions perfectly into “Yoko Ono.”

“Yoko Ono” is one of the most impressive songs on this entire album. Quadeca’s production prowess shines on this song, and LoveSpells crushes the intro verse with infectious energy. Kevin also lays down a memorable verse, followed by LoveSpells again in a higher falsetto for the chorus.

LoveSpells is the artist who shines the most on this record vocally. He showed extreme versatility with insane vocal heights, melodies, rap verses, and anything Kevin could’ve hoped for. 

“NOLA” follows this up by being the most explosive track on Blush. The song is produced by both JPEG and Quadeca and features a mind-boggling industrial hip-hop/hyperpop instrumental. JPEGMAFIA shines vocally on this track as well, with a verse that fits this song like a glove.

On my first listen, the rest of the tracklist is where the album fell short for me. My expectations for the album and enjoyment of the first few songs did not allow me to go into the rest of the tracklist with an open mind. From here, the record skews more pop-ballad, reggae-rock, and even folk. Coming back to this album after the first listen allowed me. to appreciate these songs as they were meant to be appreciated. 

“Post Break Up Beauty” and “97 Jag” both featured only Kevin and LoveSpells, and both have mainstream hit potential as summery pop tracks. Their chemistry has left me with great hope that they continue to collaborate in the future, as they did not miss on this album when paired together. 

I gave “Text Me” a rather scathing review on the initial listening video, and it remains my least favorite song on the album, and one of the only skips. Kevin and Sekou’s directions do not pair well together on this song, as it feels like they both want to say different things, leaving the track feeling disjointed and flat.

However, the album immediately picks back up from there with the lead single “Geezer,” with Kevin and Dominick Fike delivering a 311-esque reggae storytelling track where they both get to shine and create a song with immense replay value. If you are unfamiliar with the artists on Blush and need a place to start, this is the song to try out. 

DERBY gets a solo track after this called “I Wasn’t There,” where he takes Blush to a folk track where he gets to showcase his storytelling and vocal abilities on a very pleasant song. After “Blush Interlude,” where Quadeca showcases his soundscape-building ability, we get another solo song, this time from Dominick Fike titled “Maroon.” Here we get a sunny tune and a tight vocal performance with Fike at his best. 

“Pop Out” is another track here that has hit potential, with an unforgettable chorus from LoveSpells and a vintage Ameer Vann performance. From here we go to “Girlfriend” and “Bloom,” which are two of the weaker tracks, still produced magnificently, just lacking direction and having out-of-place vocal performances.

“Abandon Me” is Quadeca’s solo track on Blush, which I originally was not too high on because of the chorus. Looking back on it, the vulnerable and unique storytelling and anthemic production give this track a personal feel and great sound.

The album closes with a Dr. Dre cosigned “Red Light” that was briefly leaked before Blush had even been announced as an album or collective. It’s one of the best songs on the record, driven forward by a soulful chorus by Quadeca and classic verses from Kevin and Ameer, harkening back to a Saturation series Brockhampton track.

On first listen, Blush seemed to be all. over the place, and driven by Kevin’s vision on what a group record should sound like. Listening to it more, I have much more praise for what Kevin did here than criticisms.

Curating the artists to be on this record and fit in where they did is not an easy task, and Kevin was able to do that and have it sound beautiful. Although the styles and genres on this record vary, it feels more like a long walk through various landscapes than sounds with no similarity.

Kevin didn’t need to shine on every song on this record because he was able to bring in artists, big and small, that he knew would excel in the positions he gave them. Blush is not a perfect record, but it didn’t need to be. It was a showcase of talent and a love letter to Kevin’s city.

In the AwfullySus video I recorded, I gave this album a 6.9, but after listening to it with an open mind and through a new lens, I can’t give it anything lower than an 8.0, and I assume this record will grow on me. even more throughout the year. 

If you haven’t listened to Blush yet, it is a must listen. You will find new artists to listen to, and hear a record that showcases artists with incredible talent coming together to create a beautiful journey of a listen. 

Venturing is the newly added side project of Jane Remover. Jane originally threw some cuts that they wouldn’t have normally released publicly under the Venturing alias on SoundCloud, but Ghostholding is the first official album release we have seen put out on all streaming services. 

The album as a whole is much more shoegaze and indie rock-centric than Revengeseekers, Jane’s more recent album release. However, it is a lot more similar to her works leading up to Revengeseekers, like her breakout album Census Designated and songs like “Dream Sequence,” that rely much more heavily on hazy atmosphere and intentional storytelling. 

However, Jane’s roots are in hyperpop. She started the Dariacore craze amongst chronically online, hyperpop-forward musicians, and was very much in that lane on her debut album Frailty. Throughout Jane’s start in music, they have brought in fans from all corners of the internet, which is a testament to their versatility. But, that may be the reason for the recent criticism of their newest album Revengeseekers (I’ll get back to Ghostholding, just let me tangent for a second).

Revengeseekers was met with a lot of critical acclaim, which is absolutely deserved. It is a boundary-pushing hyperpop album that tests the limits of how much you can pack into every song on an album. It’s full of metallic instrumentals, industrial drums, and sound effects that are utilized expertly. It is truly an impressive feat in making chaos make sense. 

Fans who discovered Jane because of Census Designated expressed some disappointment with Revengeseekers. Some people say that compared to Census Designated, Revengeseekers doesn’t have the musical and lyrical world-building or sense of direction that their prior album had. This is true, but these two albums are not the same style of album at all. They aren’t the same genre, and do not come close to serving the same purpose. 

Fans and critics who are upset about this are not concerned about Jane as an artist in the slightest. When did artists stop being allowed to think outside the box and push boundaries at their own discretion? Although Revengeseekers does not follow the same direction or precedent that Jane was setting with her prior album and songs, it walks a path untread by any artist before. 

The fact that listeners want the same thing from an artist they are a fan of over and over throughout their album is really disappointing. Why discourage your favorite artist from trying something new? Furthermore, why limit yourself from exploring a new genre and expanding your music taste? There’s more to music than what you are comfortable with, and that same sentiment can be reflected in life as well. Broaden your horizons, there’s so much to experience out there. 

Now, where does Ghostholding fit into all of this? It may be an album that remains undiscovered by casual fans because they do not know that it is Jane or that they have a side project at all. Fans who discovered Jane during their Census Designated era may be pleasantly surprised with some of the loose similarities, but fans who discovered Jane during their early hyperpop era or more recently through Revengeseekers may feel the same frustration with this album because it does not follow what they view as normal from Jane. 

Although this is a side project, the experience we are given here is expanding on aspects we have seen from Jane previously. A side project isn’t something that should be pushed to the side, because this is clearly a style of music that Jane is passionate about. Maybe if more critics called Venturing a passion project instead of a side project, this album would be garnering more listeners than it already has. 

Since I’ve already spent a while complaining about different reasons why this album may go undiscovered, this is my time to tell you to go listen to it. While sonically it may not be the easiest entry into shoegaze or indie rock, it’s still produced fantastically and is lyrically full of enticing stories, with every single aspect done by Jane.

“Play my guitar” is a fantastic intro to the album. It sets the tone for the rest of the album with more stripped-back production than expected from Jane, while they’re singing on top of some nice guitar riffs. The singing by Jane, on this song and across the entire album, is incredible and features some of Jane’s best vocal performances to date. 

“No sleep” is the second track here, and the only low point of the album. The percussion as a whole on this track is more of a shifting fill than an actual beat, which had to have been intentional from Jane to create this sense of anxiety on a track about anxiety. However, this just creates more of an annoying listen for all of my OCD/ADHD family out there instead of the tense experience Jane was hoping for. 

The album picks itself back up immediately following with “Believe” and doesn’t slow down again. This track is atmospheric excellence with great guitar playing and mesmerizing, heartfelt singing. The lyrics and story of this song are flawlessly crafted. Jane talks about how difficult it is to believe in any religion or relationship because of their past experiences and thoughts about both. 

Juxtaposed with this sentiment throughout the track is the chorus where Jane states, “I’ll believe anything.” This shows her willingness to accept either this person or thing just because of their willingness to be accepted. This is followed by Jane singing “Do you believe in me?” This is a heart-wrenching end to the chorus, depending on the answer, because Jane is just looking for that approval back from the person, and that’s all it would take for Jane to feel wanted. 

But it’s obviously not easy to come by if Jane has to ask the question. This song is perfect, regardless of what angle you look at it from. On the surface, it’s about relationships, but it has very clear religious undertones. It’s something that isn’t direct and bland like some pop storytellers today, but is still something that can be relatable to anybody, which is the mark of a fantastically written track. 

“Guesthouse” is another haunting ballad with clashing vocal harmonies that add to the ghostly atmosphere. “Dead forever” talks about moving on from a heartbreaking relationship and finding someone who genuinely cares about them. It’s a sun peeking through the clouds moment for this album.

“Famous girl” is another standout moment in which Jane becomes more introspective about their fame, and the highs and lows that come along with it (but mostly the highs, which is a good emotional shift for the album). The project concludes with “Sister,” which is a little more downtrodden but impossible to ignore. The emotional depth on this track is impossible to ignore, in which she compares themself to their younger self and how that negatively impacts their relationships with others and leads Jane to make some poor decisions.

From front to back, this album is a lyrical masterpiece. Even though the barrier to entry sonically is a little steep if you haven’t been immersed in this genre before, it is still enjoyable to the average listener. The intricacies in the strings and rising noise walls make for cinematic sounding shoegaze, which is hard to come by. 

If you haven’t checked out this “side project” yet, it is a must-listen. It’s packed with passion and purpose, and is musically astonishing. This isn’t just a side project, this means something to Jane. It’s emotional, boundary pushing, and a beautiful feat of creativity. Humans need to appreciate other humans being creative more, because it can lead to some truly stunning outcomes.

Soundtracks are more integral to video games than you’d first think. Yes, the gameplay and graphics are important, but the music adds a new dynamic to the experience. 

The expansiveness of the different genres of video games rivals that of even music. With that comes the need to curate a vibe for a game’s specific niche. This could include a soundtrack for the menu, songs in the game, background music, and more. 

What you may not realize is how the games you play may affect your music taste. Playing a video game is like being immersed in another world. Once you come out of that world and back into the real one, one of the things that stays with you the most is the music you heard. 

Take The Last of Us, for example. The hit HBO show is based on the video game in which you traverse a dystopian future where humanity attempts to rebuild amidst the fallout of a zombie apocalypse. Most of the musical ambiance is guitar-based, and one of the through-lines of the story is the guitar that one of the main characters teaches the other how to play. 

“Future Days” by Pearl Jam is the only song that gets to be taught to the main character who inherits the guitar, and from there, she learns different songs in the same soft-rock space throughout the game. If you found yourself listening to more soft-rock after playing the game, or perhaps even learning to play the guitar, then there’s a possibility this game might have influenced those actions. 

A clearer and more direct correlation from in-game music to music taste can be seen through Fortnite. Although Fortnite crosses generations and data on players under 18 years old are not readily available because of the barrier of entry to play the game, one study revealed that 45% of parents reported at least one of their children playing the game. 

If this study is true, that’s roughly 30 million kids in the US alone playing Fortnite. If the study is inaccurate, the influence that the in-game music has on the youth and people playing the game in general cannot be understated, regardless of the true statistics. 

Although this is anecdotal evidence, I have been able to talk to a decent number of Fortnite gamers during my time as a substitute teacher. Groups of elementary and middle school students love listening to “Goosebumps” by Travis Scott. Their knowledge of the song is disturbing to me as an avid music fan, but it makes sense within this context.

When I asked them who the feature is on the song, not one of them could tell me who it was (Kendrick Lamar). Why? Because they all know the song through Fortnite, and that’s their only context for the song.

There is a plethora of music in Fortnite because of dances called “emotes” that players can do that are accompanied by music. Although there are plenty of hit songs in the game that people might be exposed to through social media or the radio anyway, there’s also a decent amount of more niche music that finds its way into the game that players would not have discovered otherwise. 

I would bet a lot of money that my small sample size of students who play Fortnite widely reflects the younger audience that also plays the game. Their music taste almost always contains music found in the game. Furthermore, like in the “Goosebumps” situation, their knowledge of the older or more niche songs in the game that they listen to in real life usually stops at the fact that the game comes from Fortnite.

This is about as direct a correlation of video game music affecting real-life music taste as you can get. But, the examples of this idea ringing true do not stop with that game.

Sports games are another great example of this phenomenon. FIFA (now FC) is known for its soundtrack being widely composed of electronic and indie cuts. Being a FIFA player myself, I can look at my Spotify and see the direct impact the game has made on a portion of my music taste, and I bet this rings true for many others as well.

NBA 2K always has a hip-hop-focused playlist. Madden usually has a shitty playlist. Players of these games can expect to have their music tastes altered by these games, too. 

The example could go on and on, but you get the point. And by this time, you’ve probably realized that the video games you play have influenced your music taste in some way. 

I might have made it seem like this is a bad thing, but it’s not. Video games can promote artists and songs that might not have gotten the audience they deserved in the first place. Although it’s just a theory, it does seem to ring true wherever you look.

As much as JPEGMAFIA might disagree with you if you asked him in person, he is one of the most openly chronically online rappers of the new generation. Coupling that with how he is also one of the driving forces in experimental hip hop creates a certain unpredictability of what his music will sound like whenever he drops new songs. 

He recently collaborated with Australian EDM artist Flume for a 4 track EP called We Live In A Society. It was an unexpected drop as there was no buildup or promotion for the EP before its release. I’m sure most fans of either artist had the same feeling going into the tracks as I did, having no idea what to expect. 

My expectations were not high. Although JPEGMAFIA and Flume are both incredible, boundary-pushing artists in their own right, a collaboration between the two of them seemed confusing. A style clash seemed inevitable, and not in a good way.

“Track 1” actually seemed to reflect this sentiment, almost like they knew that is what people would be thinking. It’s a 6-minute track of Flume giving JPEGMAFIA beats, and JPEG voicing his frustration with how bad the beats are. He even says how he should have reached out to Fred Again.. for this project instead. 

“Is It Real” flips that emotion on its head and delivers a fantastic second track. It contains a lush, futuristic instrumental with fried vocals from JPEG and incredible backing vocals from Ravyn Lenae. It’s the most pop-centric cut here, utilizing a catchy hook and an easily accessible vibe.

“AI Girlfriend” takes a big step back on the accessibility front, but it is the track from this EP that begins to showcase the extent of the creativity that these two can tap into when collaborating. If you can be turned off by stutter-EDM or unusual lyrics, this won’t be the song for you.

What is so impressive about this track is how both of these artists utilized some of the aspects of their music that are not the most accessible for fans and combined them into a truly unique song. I really mean truly unique, you won’t find another song like this out there. 

The song starts with JPEG crooning over a fairly simplistic, tinny beat. The song builds into a cinematic, synth-blasting drop. The rises and falls of this song are monumental, with interludes in between the song sections filled with vocals from an AI woman talking about how she can’t wait to become real and meet you. 

Lyrically, JPEG brings the emotions that plenty of chronically online introverts are feeling but not expressing about their AI companions. The detail that he goes into makes it almost feel intrusive to listen to. Not necessarily in a raunchy way, but in an emotional sense. The song may seem strange to some, but they tackle this topic in the best way possible, instrumentally and vocally. 

“The Ocean Is Fake” is the fourth and final track on this EP and is another amazing cut. The first half of the song is a Flume masterclass in production. The instrumental is spacey and atmospheric, reminiscent of old Hippie Sabotage beats. 

In the second half, JPEG slides on the beat expertly, rapping about how he doesn’t want love unless it’s real, and how misconstrued his outlook on what “real” really is by ending the song by stating that he believes the ocean is fake. Although it’s a tongue-in-cheek statement, it gets the point across perfectly, and his flow carries terrifically. 

  What happened on We Live In A Society was great. It shattered my expectations of what a rapper and EDM producer collaboration can look like. While in the past, fusing these two genres together has mostly made for music that sounds like it should be in a Fast and Furious soundtrack. Those days seem to be long gone.

The door was cracked by Fred Again.., creating hits with Baby Keem and Future, and now has been opened even wider with this Flume and JPEGMAFIA record. Hopefully, there will be more crossover with these two genres in the future, now that the potential the two have together is visible (although it would be hard for anyone to replicate what JPEG and Flume cooked here).

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.