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❤️‍🔥 Wifey Riddim - Shygirl feat. Jorja Smith & SadBoi

Club Shy Room 2 as a whole was worn OUT by me, and somehow, it still makes its way to my summer rotation. Wifey Riddim, kind of unexpectedly, turned out to be the one off the EP for me. It was my most played track of this spring and is undoubtedly ending up on my 2025 recap. Switching between Oscar Scheller-produced catchy ATL bass, drill and irresistible UK grime beats all along with different kinds of delicious synths, I personally have to choice but to at least do a little shimmy on every listen. Shygirl’s smooth talk-rapping, Jorja’s beautiful vocals and SadBoi’s confident rap verses on one track are EVERYTHING, proving artists could take a page from the Shy book of the art of collaborations. All in all, Wifey Riddim, in my opinion, is the biggest earworm of the year so far.

❤️‍🔥 Stateside - PinkPantheress

Speaking of Shygirl and collaborations, shoutout to her again for uniting with Isabella Lovestory and PinkPantheress, forming MY Powerpuff pop girl trio. Notice how all three of them released immaculate projects this year? Let’s now talk about Pink, Fancy That fighting Eusexua for that AOTY throne (though ik it’s a mixtape) and my obsession with its second single Stateside. Stateside is Pink’s favorite track on the mixtape for a reason. First things first, I will eat up a breakbeat. I will especially be seated for a The Dare co-produced breakbeat. My ears will also be perked up for complex vocal production and a nasty bassline. Another element of the track that I’m an absolute sucker for is the way PinkPantheress captured the 90s production down to the mixing and mastering, without obnoxiously attempting to “bring back the good old 90s music” or whatnot, she did it with clever composition that contains throwbacks but sounds up to date and from a place of love and admiration for the EDM scene of that time. HitPantheress, you’ve done it again, no more notes.

❤️‍🔥 Bling - Isabella Lovestory

Now onto an album track of the most recent release on this list, the perreo pop queen’s long awaited sophomore album Vanity! Eurotrash, the trap-based final pre-release single off the album got around 100 plays from me upon release, and as much as it didn’t age, it had to give up a seat to Bling, a follower of the classic Lovestory reggaeton formula that will go platinum on my phone without fail: bright synths, memorable bars and dominant energy all over. Moment of appreciation for the outro because TU QUIERES, YO QUIERO, ENTONCES PORQUE NO plays in my head all day. Even though I speak of a “formula”, Isabella’s approach to reggaeton and her music overall is always distinct and innovative (cough cough at two other artists currently beefing), and you can tell how she has a solid understanding of art direction, whether through her sounds or visuals. Give her the main pop girl status immediately, I can think of very few people as deserving of this as she is.

❤️‍🔥 Television - f5ve

Another hugely anticipated release of mine that I didn’t post on this blog in real-time is Sequence 01, the skipless debut album of the electrifying Japanese girl group, and Television is my favorite out of the brand new tracks. It follows a flavorful house pop recipe that’s difficult to mess up, with rather minimal instrumentals and cocky, breathy talk-raps. The bass is an immediate attention grabber, and each member devoured their verses, and I want to shout out Miyuu’s vocal fry in the second verse because it’s flawless and an absolute highlight of the track. What else can I add? The intergalactic agents never miss either.

❤️‍🔥 Lua Cheia - Marina Sena

With how invested I think I am in the Latin American music scene, I wish I had stopped sleeping on Brazilian pop and rap sooner because I have been missing out on some of the most life-changing songs I’ve ever heard in my entire life. The masterful popstar Marina Sena’s latest album Coisas Naturais was the door that took me to the pop scene, particularly with Desmitificar, Sensei and before all, the ethereal bachata piece Lua Cheia. You might’ve already guessed a bachata beat scratches my brain the right way, but just listen to the songwriting and production on this. Those bells are BONKERS. The vocals are bewitching. The way the topline on the prechorus interacts with the beat is too satisfying. The most appropriate reaction to all this is astral projection. I’m impatiently waiting for the music critics to get their paws on this masterpiece. Marina Sena, you will always be famous.

Flash and eyestrain warnings for video below.

❤️‍🔥 Lucky - Rojuu

As I’m writing, I cannot wait to geek out about iNUiNUiNU with @a-moth-to-the-light (if you’re still into his stuff 😭), and once I hit send on this post, rest assured I will yap about how much this track and lual speak to me. The whole mixtape was a delight, but Lucky was an instant stand-out due to its fresh approach to a 80s city pop throwback (and a genius You Must Be Lucky sample by producer Evar!) and how nicely the bars flowed. Of course, you know how much I like a throwback being done right and being able to stand on its own as a song. I love the second verse especially, and the danceable energy the whole song exudes has me playing it very frequently. A Youtube Music commenter says they finally got a song on the album that doesn’t make them rethink the desire to live, so I guess I won’t look questionable doing a two-step to it.

❤️‍🔥 all of that - Bayli

Last but not least, some GOOD recession music. Once again, I find low-effort throwbacks sloppy and unenjoyable, even if the genre being brought back is early 2010s EDM that’s ADORED by me. One of the biggest signs of a recession is people attempting to re-embrace the music and fashion of said era, but failing because their hearts aren’t in it. We called for someone that studied the sacred texts, and Bayli answered with pristine electroclash. The instrumentals and mixing are done just right, and her voice and lyrics are incredibly captivating as well. Gritty synths, vocals slipping into robotic territory, striking bridge, all of that make a track that feels complete despite the 2-minute run. Speaks to my inner child and perfect for late nights where this type of electronic music just hits differently.

⑪ Access All Areas - FLO

Moving on to another debut album, one that I’ve been so eagerly anticipating since discovering FLO when they dropped their first single Cardboard Box in 2022. For years I’d been hoping for them to flourish as artists and get all the love and success they deserve because they’re such talents, especially vocally, and their EPs and singles had been just wonderful, and there was just no way their big and mighty first LP would be a letdown. FLO’s contemporary R&B princesses status, their consistency and versatility are fully set in stone with Access All Areas. Harmonies and runs top-notch off the bat with the intro and smooth, sax driven title track AAA. In My Bag, How Does It Feel?, IWH2BMX and Nocturnal are instant confidence boosters all in their different ways and sounds. (The Bree Runway feature on Nocturnal in AAA: Unlocked? Now THAT’S what I’m talking about.) Soft and On & On reveal their more sultry sides with gentle, serenading vocals, while they stand on business and let go of the untrustworthy on Caught Up and Shoulda Woulda Coulda, which is my personal favorite genre of FLO songs. They dabble in some Miami bass with Check, Detroit drill with Get It Till I’m Gone and surprisingly nice pop-rock (I typically find it ear-grating so REALLY surprisingly) with the empowering final track, I’m Just A Girl. The production quality, again, the VOCALS, the arrangements, the group chemistry, the charisma, the energy, everything sets the bar higher for pop and R&B stars, but truthfully it’s unsurprising since that’s exactly what you’d expect from the FLO girls.

Favorite tracks: Shoulda Woulda Coulda (track review here), Caught Up, Get It Till I’m Gone and Nocturnal.

⑩ DOGMA - LSDXOXO

2024 was THE year of underground club bangers and electronic music with a gritty twist, as seen with many projects gaining plenty of attention and artists following suit, and it would only make sense to get to the top 10 of my list with the iconic producer and DJ LSDXOXO’s debut album. LSDXOXO is primarily known for his upbeat, sharp sound, notably on his Dedicated 2 Disrespect and Delusions of Grandeur EPs, however, Dogma takes a bold turn, with the pulsating club beats making way for the guitar topped reggaeton of 4LUVN, the alternative R&B worlds of Blinded and Bloodlust, the dark electropop thrill of Black Light, the synth-focused trap instrumentals of Girls Girls Girls and Ghost, the breakbeats of Witching Hour and Superstar and softer vocals and raps observed on all of the tracks. I knew this direction would be smoothly, beautifully executed since Bloodlust’s single release, and with the continuation of the rollout, I knew the album’s sound would be what I needed in September. The production remains incredibly in-depth and the atmosphere of the project is irresistibly alluring. Overall, this was definitely one of the top projects that defined fall 2024 for me and surely one that proved LSDXOXO’s versatility and successful experimentation. Special shoutout to Kelela for elevating Girls Girls Girls and Ghost with her background vocals, you know I love small but impactful details.

Favorite tracks: Black Light (track review here), Bloodlust and Girls Girls Girls.

⑨ Chupetones - Meth Math

Another solid debut album that has stayed heavily on rotation multiple times throughout 2024, this time by the alternative neoperreo collective Meth Math, previously having captured my attention with their feature on Isabella Lovestory’s Tacon, and later with their Pompi and m♡rtal EPs. Prior to the announcement of the album, I’m gonna be honest and say that its lead single (and later album opener) Mantis did not pull me in like the rest of their discography did, but despite a slightly rough start, the dramatic, hypnotizing second single Myspace brought me back immediately, and forget being seated, I was glued onto my chair with Cyberia (still the catchiest song on the album in my opinion) and later with Axila. Meth Math introduce new genre influences that fit the band’s style like a glove to their catalogue, such as happy hardcore with Cyberia, trip-hop with Capullo and witch house with Axila and Pócima (yup, the source of my username). On occasions they mix said genres, like they did with the familiar reggaeton and the less familiar witch house in Abducida. Every aspect about the project is impressionable, from the echoing sound design to the visual direction of both the music videos and perfectly eccentric cybercore album photography. I can confirm I will be paying attention to Meth Math’s future work moving on forward as I constantly need some electronic, gloomy reggaeton in my life.

Favorite tracks: Pócima (duh) and Cyberia (track review here).

⑧ Tidal Memory Exo - Iglooghost

You guys witness me frequently posting about music I fall in love with instantly, giving immediate reactions right upon discovery, but I’ve also mentioned that most of the time, my all-time favorites end up being bodies of work that creep up on me slowly. This was the exact case with electronic musician Iglooghost’s Tidal Memory Exo and his discography in general. I knew of his remixes and a couple songs here and there previously, I saved Nemat0de right on the first listen, and just casually kept coming back to the rest of the album, and realized I fell in love with it more and more, and not so unexpectedly. Ever since his come-up, he’s been delivering some of the sickest, glitchiest, most maximalist sound design and absolutely otherworldly mixing. That’s not the only proof he’s an electronic music mogul either, he proves it by the flawless incorporations of breakcore (Alloy Flea), 2-step/garage (flux•Cocoon), drill (Pulse Angel and Dewdrop Signal), along with gothic influences akin to Gesaffelstein’s Gamma (Coral Mimic) and orchestral moments giving that “calm after the storm” feel (Dewdrop Signal). Another element that makes the album this cohesive and put together is the storytelling, present in all of his past projects but especially prominent in this one sonically and visually. The inspiration for the Tidal Memory Exo-verse comes from his time squatting in a garage of a UK seaside town, and the concept is based on apocalyptic, sci-fi themes, and here are some articles that can frankly give a lot more insight on the lore than I can. Tidal Memory Exo is a universe I’d recommend to all IDM fans, or anyone who’s looking for intricate sounds and top-notch quality dopamine.

Favorite tracks: Nemat0de, flux•Cocoon and Coral Mimic.

⑦ G-SPOT - STARKIDS

Speaking of dopamine, I’ve also mentioned that there’s arguably nobody that induces it in the music game like the Japanese hyperpop band STARKIDS do. It’s been forever since I full-on geeked out over a group like this. I’m very often in need of some loud underground EDM in my life, and they’ve played a huge part in me falling further in love with the J-hyperpop scene. They’re the ultimate masters of unapologetic, maxed out, extremely well-produced fun music. Even when it comes in the form of singles (okay so for the 1000th time I will emphasize that Pop is the 2020s’ Like a G6), their music is mind-blowingly captivating and entertaining, but an entire album of pure unadulterated bangers 3 years after the last one? I’ve gotten scared and then pissed at their diabolical disbandment prank rollout (near decade long K-popper moment) but how could you not forgive them when the music is really THIS good? Unlike the previous projects mentioned in the list, they don't take entirely new directions, but instead effortlessly show how good they are at what they do, from their throbbing as always takes on happy hardcore and Eurobeat to the usual yet exciting hip-hop and trap roads, with hints of 2-step (BACK2BACK) and hardstyle (title track). The members’ flows never fail to hit like a sip of freezing soda, and while Espeon and Benxni are my MVPs in this aspect, all of them have their moments with their own addictive verses and choruses. Thematically, the album offers STARKIDS' constant preachings on embracing authenticity and living your life free of any judgement. Honestly, there's something people of all backgrounds and lifestyles can get out of these preachings. Whether you're the type to spend days and nights partying or choose to navigate stably through work or education, all you have to do is listen up, mentally hop on the band's wavelength and have fun to the fullest just like they do.

Favorite tracks: BACK2BACK (track review here), G-SPOT, Stay Back, TYOSTAR and Thailand BKK.

⑥ Where The Butterflies Go In The Rain - Raveena

After the intense, high tempo, electronic projects I've talked about in the list so far, it's time to make room for some therapeutic, lush R&B with another gorgeous project from Raveena. With her third studio album, she once again takes on roles she absolutely owns: a narrator, a fairy, a healer, an ethereal being. Let me start simply with how I felt while first listening to it on its release day: I remember taking a half-hour walk home, DMing the #1 Raveena fan @timetravellingkitty my thoughts as they formed, feeling just like a main character in a coming of age movie. You can easily observe that music puts me through countless emotions, that’s why I talk about it so much and in such detail, but again, the art of building entire worlds through albums is something that particularly earns my appreciation. You can guess the beauty of the production and sound straight from the title. From the Brandy inspired string-heavy Pluto and Lose My Focus; to her blending Western and South Asian influences on Every Color; the simple but moving soul tunes Lucky and Rise; the catchy dream pop bops Baby Mama, 16 Candles and Smile For Me; the guitar-only Kid and piano-only Little Bird and We Should Move Somewhere Beautiful; and the soothing, cinematic finale Water (and she KNOWS how to do a good key change). Not to forget the wholesome Afternoon Tea with the Auroras interlude, which begins with her grandmother reciting the Sikh mantra Ik Onkar and includes a conversation between the two, and that alone represents the rawness and emotion put into the album. The sweet vocals and harmonies, lullaby-like at times, are a key in maintaining this otherworldly-ness. Moving onto what the project means to Raveena herself: in her own words, she needed to return to comfort and stop weathering storms, just like how butterflies go into hiding in the rain due to their fragility. If you’re new to her, her spirituality, connection with herself and eloquence seep through every word, every melody she puts out. Whether the topics are sweet such as romance or personal growth and realizations, or rather painful such as grief, genocide or the opposition to women’s rights and humanity, it’s all tackled deeply, but with genuine hope. Genuineness is a quality I highlight consistently when discussing art, though it seems and feels like a bare minimum, and it’s what Raveena directly exudes. That’s something to find true comfort and consolation in.

Favorite tracks: Junebug (track review here) and Lose My Focus.

⑤ Still - Erika de Casier

Erika de Casier is still a wonderful player in the contemporary R&B game, with her added pinches of breakbeats, 2-step and synths straight out the 2000s all throughout her discography. While her debut album Essentials was pretty down-tempo and trip-hop focused, and sophomore Sensational introduced heavy garage influences, her third album amps up the 2000s aspect of her sound. Right after intro Right This Way, where Erika welcomes you to her very own party as a VIP comes first single Lucky, the adorable liquid drum and bass jam and a production highlight. (Peep two albums back to back having cute songs called Lucky!) Home Alone and ooh possess the epitome of that Y2K era cheekiness and sensuality, as well as the Timbaland-coded beats and samples. The Princess is debatably the most vulnerable Erika has gotten with her with her inner disagreements in relation to her life and future, accompanied by a guitar and soft chest singing. On ice, she brings out Tampa rap duo They Hate Change for their takes on verses about relationship bantering, and the chemistry of the three combined with the melodic high “ah, ah”s and chill instrumentation makes the track unbelievably smooth and itch scratching. Test It, Believe It and Anxious have simpler production that relies on the top-tier synths. Ex-Girlfriend with Shygirl is a collaboration I’ve been anticipating as a big fan of both, and it was surely executed even better than I could’ve imagined. It has that moody, confident flare that both pull off perfectly. Toxic seems like a slower, more soul-leaning ice, and lyrically it’s a drift from the romance of the first half of the album. My Day Off comes in with the pop/EDM hybrid era hip-hop vibe. You can even sing “shawty had them apple bottom jeans, boots with the furrrrr” to its tune, but you honestly won’t need to when its actual lyrics come in handy for classily flipping someone off with words. Toxic featuring Blood Orange, the post-breakup duet with a monologue and low-key harmonies, signals that we’re getting closer to the departure, and with the self-reflective, brink of tears-sounding Someone, we close off the party. To round up the album description, it combines R&B smoothness with electronic elements, both of which are perfect for my tastes. Moreover, it’s an album stripped of previous alter egos (such as Sensational’s Bianka) and is purely a reflection of Erika’s world and observations. Unsurprisingly, Still is a solid new member of Erika de Casier’s pristine, timeless, charming catalogue.

Favorite tracks: Ex-Girlfriend (track review here), ice, ooh and My Day Off.

④ GAMMA - Gesaffelstein

Techno father Gesaffelstein is a relatively secretive figure. His releases are typically long-anticipated, and come as surprises especially if you rely heavily on social media for your favorite artists’ updates. He uses YouTube and streaming services as announcement-only platforms, with the comments turned off, where the average viewers are all obliged to stay silent like an uninterrupted theater show. I only found out about his exclusive community website (to which you can just sign up for free), where you can actually access announcements and comment your thoughts when I was in the middle of writing this review. The Gamma teaser drop appeared on my YouTube suddenly, and I was blown away by the quality and excellence of the visuals alone. (Director Jordan Hemingway, you are so loved.) We were getting into an era of grandeur, the dark digital bleeding into the plasticized flesh, something I can’t even fully describe. Hard Dreams was released as the first single (in fact, I can’t exactly remember whether I saw the teaser or heard the song first), it’s an accurate introduction to what the era has to offer, similarly to and differently from Gesaffelstein’s previous albums. It has the classic cold, hard synths and dry kicks, but brings in gothic vocals from Yan Wagner and somewhat more vulnerability. The gothic influences especially show through with Digital Slaves and The Urge (yes, we had a little foreshadowing moment in the Tidal Memory Exo section), and 80s electronica á la Depeche Mode or Nine Inch Nails’ earlier music is heavily dabbled in with Your Share Of The Night and Hysteria. The Perfect feels like a reincarnated Aleph, louder and with vocals. Mania, Psycho and Tyranny are chaotic and fiery in their own ways, the first being fast and repetitive and almost hardstyle-like, the second abrasively maxing out the kick drums and the third relying on acids for a majestic, grim catwalk soundtrack. The serenading Lost Love and the minimal, reverse synth based outro Emet balances them out. Another difference between Gamma and its predecessors is the format, as in the track lengths; only Hard Dreams has a duration of longer than 3 minutes, but it adds up with how diverse the project is, though considerably more cohesive and story-based than Hyperion (with that being said no Hyperion slander allowed). What’s the most certain in my eyes, though, is that this album has the best visual direction of the year. The album trailer, especially, sets the standard insanely high for all other musicians and their concepts. The scenes are abstract and mystical, but so polished and precise, just like the album it backs. Gesaffelstein is rightfully known worldwide as a legendary producer, however, that doesn’t stop his art from consistently being elevated and exclusive.

Favorite track: Hard dreams.

⊛ Bonus review: RAVE:N, The Remixes

Raven was my favorite R&B album of 2023 with its quality in all areas, surreal feel, metaphors and depth; and it turned out to be a gift that kept on giving. I can’t name a remix album off the top of my head that I love more than this treasure box right here. This is a perfect example of how you reimagine and transform music, in particular a dance music inspired project. On this remix album we play around with ambient, trap, jungle, reggaeton, Eurodance, drill and more with a star-studded feature list. The whole thing is vastly different from what the original album gives, but in the best, most complementary way possible. The visuals were simple but very on point as well: the vignettes were filmed in Tokyo, from a capsule hotel to its nighttime streets to a bright green garden. Everything about this era was flawless and a beautiful sequel to the original Raven era.

Favorite tracks: Sorbet (LSDXOXO Remix) [track review here], Holier (JD. REID Remix feat. Shygirl) and Closure (Flexulant x BAMBII Remix feat. Rahrah Gabor & Brazy).

Honorable mentions:

Inferno - Moistbreezy (favorite track: La Dolce Vita): Feel genuinely bad for only placing this in the honorable mentions because it’s pure trance heaven, as well as the storyline and concept being so well-crafted. Bangers only in this house, Moistbreezy always outdoes herself.

Hunter - Rhea Raj (favorite track: Hush): Hopped onto this train fairly late, probably sometime in December, but if Rhea isn’t at least a cult favorite pop girl this year I’m giving up on pop music point blank. Such a fun debut project, just wish the tracks were a little longer, but aren’t Hush and Pray On It (which reminds me of my SOTY 🤭 keep reading to find out) the biggest jams ever?

epistolares - Akriila (favorite track: Popper): Akriila is certainly another one of my favorite artist discoveries of 2024. Great genre concoction of neoperreo, dream pop and liquid drum & bass going on in this album. The project’s defined, soft sound makes it looping material.

MEGAN: ACT II - Megan Thee Stallion (favorite track: Bourbon): Megan, you will always be famous. Act I was on rotation the entire summer but Act II came through even harder with the upgraded production, increased cohesion and new, fresh flows. Easily my favorite project from her. (Bourbon is the closest we’ve gotten so far to hearing her on a trip-hop beat, which I desperately need.)

Miniseries 2 - Sumin & Slom (favorite tracks: Why Why Why and I Think…): Another long-awaited by many album and the acclaimed duo’s return, this time taking a more acoustic, slow approach. Love how Sumin’s voice shines even more, and the way the album feels like a game main menu soundtrack but also very earthly.

And now, drumroll for the top 3!

③ For Your Consideration - Empress Of

Welcome to the story of falling love with my most played album of the year, and how it’s my favorite pop album of the year! I was first made familiar with Empress Of through her collaboration with Rina Sawayama, titled Kiss Me, in 2023. I REALLY started to pay attention to her when I saw a reel of her announcing the release of Preciosa with a snippet, and from that snippet alone nobody could convince me we weren’t heading towards the pop emergency of the entire year. I had no choice but to tune in immediately upon seeing Isabella Lovestory and Erika de Casier collaborator Nick León and experimental electronic producers Umru and Casey MQ were on the production team as well. And yeah, pop emergency at its finest. For Your Consideration is primarily an alternative pop and dance album, with strong house and vogue influences. Its core themes include immortalization, being a prize you have to reach for, being the centerpiece in a relationship and gaining dominance after long years of timidity. Numerous pop microtrends came and went in the 2020s and especially in 2024: While some pop stars are truthers of maximalism, whether it be EDM or theatrics, many (especially in K-pop and on the Internet) choose to move away from saturation, and lean into instantly recognizable drum patterns, gently mixed synths, less sharp choruses, overall more monotony (such as in UK garage, drum & bass, Jersey club) and less in-your-face. This “blur” can either create jams that you can’t get overwhelmed with or tired of, or a boring, predictable skip where you can tell what the producers were miserably going for. Empress Of’s record isn’t exactly a banging, loud, overly melodic one like what we left in the 2010s, but she delivers multi-layered work that really takes up space with elegance, confidence and assertiveness. She sings about different aspects of romance, her feelings and experiences over casual beatboxing and breathing and beats that make you put a pep in your step.

The record starts with its title track: the heavenly, passionate intro that lays down the concept of the album. Lorelei is a fan favorite to this day and for good reason: the angsty lyrics, the house beat backed by the vocal bits serving as synths, the harmonies make this song a good representative of the whole project. Preciosa’s chorus is what pulled me into the track and into the whole album before anything else, but the whole track is very memorable, danceable and embellished. Femenine, What Type Of Girl Am I? and Cura strongly lean towards house and vogue with whispery vocals, while Fácil and Sucia is where Umru’s trademark thumping bass and snares come in. Baby Boy and What’s Love are the finisher ballads, vocally pleasing and leaving a sweet aftertaste. My favorite characteristic of this pop masterpiece is probably how detail-oriented and satisfying the whole thing is, how Empress Of utilizes her vocals and transforms them into all sorts of instruments (I’ll elaborate on this further a bit later), the little Timbaland inspired “hah”s and the “tch”s, the harmonies, my brain processing how all of it comes together. In an era of music where so much is stripped down, and all the nostalgic elements being brought back are some of the easiest ones to replicate, it fills me up with joy to see maximalism of this kind being understood and slowly making a comeback in practice. “Satisfying” is truly the way to put it about For Your Consideration. Nothing unnecessarily over the top or unfitting, but no missing keys or details. So grateful that this album got me through the whole first half of the year, nothing could’ve set the tone better for me.

Favorite track: Fácil (track review here).

② Quantum Baby - Tinashe

Quantum Baby earning the silver medal didn’t come as a surprise to you if you’ve been hanging around this blog for a while, I’ve been an avid fan of Tinashe for years, and prequel BB/ANG3L took the #5 spot on my 2023 album awards. You already know by now that I’ve been WAITING for that sequel ever since Tinashe announced that BB/ANG3L was part of a trilogy, so rather than a personal timeline, it would make sense to skip over to witnessing the virality of lead single Nasty. It’s first teased on an Instagram livestream, us SweeTees start humming “is somebody gonna match my freak?”, the song is released, SweeTees keep humming, but we turn around and the whole World Wide Web is humming “is somebody gonna match my freak?” too? Brilliant freestyle-turned-sound bite aside, I’ve seen Nasty being described as combining the best of Tinashe’s older music and newer music, and that couldn’t be more true. The dark-leaning, relatively minimal production of her mixtapes, Nightride and Joyride eras meets the danceability and infectious bars of her 333 bops and BB/ANG3L track Needs. The rollout got followed up with the 2-step Getting No Sleep, possibly less plausible to the mainstream but something that real music enjoyers like me (:3) appreciated. It has that hypnotizing quality, drums and synths/pads wise, that I always immediately cling onto as you can clearly sense, and the topline wasn’t any less catchy either, so it didn’t take long for me to already fully indulge in the music the era had to bring us. When the album dropped and I got to listen to it, what I really appreciated is how experimental it was, how much was dabbled in without hesitation, without losing the plot or that Tinashe essence. No Simulation is the drum-free opener with a fire bass line right off the bat, with the heavenly harmonies more in the spotlight than ever, almost as if it belongs on Miniseries 2. Thirsty… Thirsty… save me crunchy trap song with beautiful, beautiful vocal moments… Red Flags doesn’t fall short on the beauty, it has that distorted synth line that strongly reminds me of Oklou’s work on Galore, which is a vibe I’ve wished I came across more frequently. Next up is the Jersey drill Cross That Line that kicks off with choir vocals and continues subtly too, and When I Get You Alone is an R&B/trap masterclass at the Tinashe School of Two Songs In One with both parts making you move like Homer Simpson in that one GIF. No Broke Boys is the Needs of this season, with its lyrics serving as daily affirmations, and the track later rightfully being pushed as a single. As I mentioned, the songs went in such different directions, in ways you can feel if you listen to the album and fully comprehend if you listen to Tinashe’s previous projects, and that alone felt so fresh and invigorating Quantum Baby instantly became one of my favorite projects from Tinashe and 2024.

With that being said, the aspect that made me more interested in and attached to this project is what it means to Tinashe herself. In BB/ANG3L, she consistently used water as a metaphor for reaching your own essence and getting purified, free from self-doubt, bind to the past and fakeness; and reflected said themes in her lyrics. Thematically, Tinashe follows similar themes in Quantum Baby as you may guess from the title, as in getting to your own core and coming across contradictions and intermediate states between strength and vulnerability in the process, akin to the Schrödinger’s quantum paradox, for example. Not only can we go on and on about how thought out album trilogies are so back and how important it is to map out your themes, concepts and creative direction well (which she evidently never fails to do), but I also wanna touch on how her self-discovery as an artist and person really shows in her craft. For decades, Tinashe has been a polymath from singing and dancing to producing in engineering, pioneering musical trends and influencing many, yet somehow the only repetitive thing about her music is her commitment to excellence. Whenever she drops an album or EP, it never entirely consists of sounds or visuals she’s done previously, everything new from her is refreshing and either causing a buzz (like Nasty or 2 On) or worthy of causing one, and it’s especially noticeable with Quantum Baby. 2024 treated Tinashe like the queen she is, she deserves her success and more, and I will be anticipating all the more to come.

Favorite track: Thirsty (track review here).

① Dennis - Sega Bodega

Finally, what the readers of this series have probably been anticipating: the review of my favorite album of 2024. To my mutuals, the top spot has been obvious long before I even knew the album was even in the works, simply because it was gonna be a Sega Bodega album, his third album. I’ve mentioned numerous times that Sega is my favorite producer of all time, though I don’t remember if I’ve ever elaborated on it. If I were to put it simply and with a pinch of humor, his brain fascinates me. The way his whole sound design speaks to me from the distorted keys to the reverberating drum patterns, his seamless incorporations of samples from the most random clips and sounds, his surreally gorgeous album and concept building, his artistry and loyalty to the distinctive and unseen before… all so entrancing to me. I’ve played the life of Romeo, Salvador, self*care EP, hell, even the in-between singles such as Arena! with Safety Trance and mimi (no, that’s not where my nickname comes from) or the classics such as Ess B EP and Nivea, his entire discography basically, so I was seated since, like, 2022. I’ve said this about countless projects, but I mean it with each and every single one of my neurons when I say this about Dennis, my already high expectations were blown. I’d like to share this excerpt from Sega’s PAPER Magazine interview (which I highly, highly suggest reading as well as these three articles) that precisely describes his three albums and his evolution:

Dennis continues his artistic development which has steadily moved skyward. Bodega's first album, the darkly intimate 2020 Salvador, was a brooding haunt through a dimly lit bedroom. On it, his deep voice beckoned the listener towards the heathenish. His follow-up, Romeo, seemed to fly out of the bedroom and perch itself on the top of a nearby building. The floaty, angelic project circled the sacred and profane as songs like Only Seeing God When I Come and Angel On My Shoulder merged the physical body with the transcendent. Dennis, though, seems to forgo the world as we know it for the one we experience in our dreams. A floaty, at times euphoric, at times nightmarish journey through the subconscious, Dennis is an exploration of surprising association, the kind of expansive logic that only makes sense in your dreams.

Yup, before we get into my rambles about the songs themselves, let’s discuss the collective consciousness theory and “sleep” as a literary theme, because looking into Sega Bodega discussing this and doing research on the topic alone is something that staggered me entirely and pushed me to think and process a lot of my outlooks and feelings on life. Dennis was titled partially in the sake of two unrelated comic debuts titled Dennis the Menace in the US and UK. This ties into “collective consciousness”, which claims all of our brains are pumped the same information while we sleep, causing uncanny “coincidences”, if we can even call them such. Dissociation and the sleep cycle are core components of the album’s world, which is reflected in hypnosis inducing intro Coma Dennis, its alarm-like follow up Adulter8 and somniloquy samples by Rick Farin in Dirt and Humiliation Doesn’t Leave a Mark.

Now onto the sonics, as mentioned, Adulter8 hits you like an alarm with its distorted 8-bit melody, possibly even causing a headache for some, but as the song progresses, you can’t help but get lost in the echo-y background chords. Next is Elk Skin, third (technically fourth) single from the album rollout, which starts off with a trap beat and transitions into a combo of reggaeton and acoustic guitar, is the most pop-like the album gets, but remains incredibly distorted and modified especially on the vocals provided by Cecile Believe. Kepko was released in 2022 and remains one of Sega’s personal favorites and “most fun he’s ever had making music” to this day, comprised of reversed and chopped up vocals and fast, repeated drum loops, and the atmospheric, warped feel deems it perfectly fitting for the album. Dirt is calming post the chaos of the predecessor two tracks, leaning towards hazy progressive trance and 2-step. I reviewed Deer Teeth instead of Set Me Free, I’m an Animal in my winter 2024 favorite singles review, and I still feel like I did it injustice, because it came to me at a time in my life when I needed something comforting and freeing in its darkness, and the track didn’t fall short, maybe because of its minimal echoing guitar-heavy production, maybe because of its lyricism. True, the final single, is a stunning maze of various sounds with three key changes and a beautiful chorus by KUKII fka Lafawndah. With every key changes, the song steps into a higher ground, becoming more and more celestial and incorporating choir vocals. Tears & Sighs is a rather cold and unwelcoming goodbye, with the abrupt guitar intro flowing into softer but bleak chords and Sega’s voice pitched deeper than ever singing “Heaven stays on burning but that’s none of your concern / You reduced my wings to bone ‘cause they were never yours to earn” and later “Said our goodbyes, these tears and sighs, who even are you anyway? / Don’t talk to me, don’t even look at me, I want to”. Humiliation Doesn’t Leave a Mark is a journey, it’s heavy on the violins and vocals, it has an astonishing beat drop and chorus, its vocals (featuring Kiss Facility bandmate Mayah Alkhateri) are whispery and minimal, and its instrumental interludes are mesmerizing. Coma Salv is the instrumental final, reminiscent to me of deep sleep and the music box loop I’d hear past 11 PM on the kids’ cartoon channel when I was a kid, tying the unconsciousness/subconscious theme together.

In this review, I’ve been reciting “world-building, world-building, world-building” like I’m trying to cast a spell to levitate an alien’s couch, but in my defense, I’ve been emphasizing it relentlessly because it’s been lacking in the music world overall, in an industry where musicians are plastering unrelated singles together, pushing barely-mixtapes as “albums” and putting no thought into what meaning and beauty the barely-mixtapes carry as a whole. Projects like the ones mentioned in this post give me hope for artists creating portals with their projects again. Sega Bodega and all of the ingenious artists I’ve praised here give me hope for the future of music. For the return of proper utilization of song lengths instead of cropping them all to 2 minutes out of convenience, for the collective courage to try the uncommon and lead instead of follow, for complex emotions and situations to be expanded on and shown not told. For albums, for art, for thought and for distinction. I don’t think I can grasp some musicians’ craftsmanship entirely due to my lack of technical knowledge on music theory, so I guess it’s natural for me to continue to be impressed, but on occasions you can be certain when someone is universally outstanding. Sega Bodega is a mastermind.

Favorite track: Adulter8 (track review here). Song of the year. Song of forever.

❤️‍🩹 second demise - 4s4ki (co-prod. NUU$HI & The Back Horn’s Eizumi Kannami)*

Miss 4s4ki hasn’t appeared in the long reviews sections of these lists in the past 2 entries, not because the music was bad in any way but because she dropped singles instead of projects and I couldn’t find much to say about them despite them being incredible as always, however know her crown remains untouched. Collective Obsession was her first body of work in a while, since June 2023 album Code Ge4ss to be exact, and second demise specifically was revealed first in a live performance. I basically heard the entire song previously and that didn’t stop me from hyperventilating at night when listening to the studio version. second demise offers the drum & bass mastery offered in multiple past projects of 4s4ki’s, as well as electric guitars being part of the base for the instrumentals and a drill section for the second verse, which is a first time entry for her genre versatility record. What makes this track so so special isn’t even what I listed above, it’s the way all of this is executed in such a siren-like, haunting way. The synth that appears in the intro and the (pre-)choruses, her hypnotic processed vocals and adlibs, the key switches (I’m not even usually a fan of key changes but this is an excellent example of one), the lyricism… yeah, this is exactly the type of 4s4ki songs I’m the most drawn to. I’m still so impressed at the fact that she’s physically unable to miss with her releases AND she keeps taking her game to the next level. If you’re not tuned in for her releases like I am, you’re missing out severely, on unimaginable levels. Oh, and I knew NUU$HI was goated since I heard his production on echo’s no scars, and I will be getting into The Back Horn as well.

❤️‍🩹 Whiplash - aespa

If HYBE truly wanted to outdo aespa, they would’ve leaked information on what they’ve been eating this year, because whatever it is, it’s made them cook up an unseen before smash hit run. I’ve been consistently talking about their music in this series and on my blog overall, and talking about some “omg NOW this might be their best title/song” and whatnot, and this time they decided to put an end to my dilemmas. Whiplash is my favorite aespa song ever, let alone title tracks. It’s exactly the sound that I’ve been begging aespa to incorporate into their discovery for all the three years that I’ve been a fan of them, it’s effortlessly catchy, it’s not dedicated to mainstream audiences but catches their attention because of how well-defined it is, it’s gritty, it’s mature. (If you grabbed my head during its release week and shook it you’d hear “one look give ‘em whiplash” echoing.) It’s futuristic tech house highly reminiscent of Boys Noize or Gesaffelstein (@timetravellingkitty gets me on this one), with techno synths and a classy drum pattern perfect for voguing or catwalking printed all over. Despite the relative monotony of the track; the verses, chorus and vocal performances remain top-tier. No member feels like they didn’t get what they deserved (which has been an issue on multiple previous title tracks), they’re now all at the forefront both in the song and the choreography, their parts are designed for them to shine individually while being harmonious with each other. Whiplash is currently peak aespa, perfectly pop, perfectly experimental, perfect in all aspects from production to creative direction to the aespa girls glowing with confidence, knowing their improvement, skills, artistic achievements and that they all truly outdid themselves in all areas with this release.

❤️‍🩹 Puchica - Isabella Lovestory

Neoperreo pop princess Isabella Lovestory is back with her consistency, her signature synth-heavy reggaeton and unique, campy in the best was possible art direction. Púchica, the title being Central American lingo roughly meaning “damn!”, had been teased for quite some time before its release (including that May 11 livestream where she teased VIP and some currently unreleased gems), and the single cover alone, consisting of a self-made collage, reflects the track’s expected flashiness. (Heavy on the self-made as well as her also directing and editing the MV herself, we love a true audiovisual artist. ❤️‍🔥 Oh, and calling all 5 neoperreo fans on this site: Taichu is featured in the video!) What I probably enjoyed most about this single is that the beloved 8-bit synths from Tacón were brought back because those never fail to scratch an itch in my brain, accompanied by slot machine spinning sounds to match the lottery win theme of the track (an explicit “damn, I hit the jackpot!” 👀). If you listen to Isabella, you already know she has an ear for a permanently infectious chorus, and this is one that lived in my head rent free for one of the longest amounts of time. And those slight switch-ups for the last four bars of the second verse and the last post-chorus? Satisfying 8-bit excellence. Well, that’s an immaculate continuation of a skipless discography, and even though she postponed IL2 (2025 🙏🏻), we were well fed with this year’s singles nevertheless. The independent popstar scene really hit the lotto with her. Ay vos, como púchica, púchica 💃🏻

❤️‍🩹 UFO - f5ve

On the previous entry for my seasonal recaps, I talked somewhat lengthily about f5ve’s come-up in girl group fans’ eyes and them finding their group identity, and since then, my love and appreciation for their music and skills and everything they have going on has only grown. The biggest reason for this is their successful follow-up to their summer release Underground, which has truly proven they’re one of the most intriguing and artistically polished acts in the pop game right now. A major attention grabber for UFO was the A.G. Cook and Nömak co-production, largely thanks to executive producer Bloodpop’s connections (and it’s kind of hilarious to observe people who are less familiar with PCMus get shocked at this). The hype surrounding this paid off immensely as the production of the track is absolutely otherworldly: UFO claw whirring noises start reverberating and builds up into synth-filled electropop heaven. Oh boy THE SYNTHS ON THIS… I have yet to recover from how they rewired my brain. With the unforgettable verses, chorus and the “gacha, gacha, gacha find out”, you too will find yourself replaying and singing along to the whole song nonstop. A sick double entendre at the core of this song that I believe needs to be mentioned more is how the usual usage of the term “UFO” intertwines with its Japanese meaning, which is the claw machine you come across in arcades, and you can probably tell the simile comes from their claws and how they grab objects. The track and MV tell a story of a schoolgirl with supernatural powers (ESPER SHOGAKUSEI, that’s that collective consciousness) who puts them to use in said claw machines, and while it’s lighthearted and incredibly entertaining, it’s also another incredible example of f5ve bringing in Japanese culture to the Western originated hyperpop scene and the whole world. (Two amazing articles where the girls discuss this, highly recommend giving them a read. And please start talking about how talented and well-spoken the members are because that’s not brought up enough either.) f5ve members and the team behind them have made it clear they’re here to press their stamp on contemporary pop, and they’re heading nearer towards cult classic status with every comeback.

❤️‍🩹 BLACK LIGHT - LSDXOXO*

LSDXOXO has been an icon in the underground club scene for over a decade now, and though his debut album DOGMA swerves into a slightly different direction of alternative R&B, cloud rap and breakbeats, what Black Light offers may be his most addictive yet. At least to me personally: I’ve been hyping up a good number of gritty bass and pluck dense songs released this year, including TAN’s Hypertonic (the successor to FEMM’s L.C.S. and yes I will die on this hill) and echo’s GAME. I’m kind of seeing a pattern of Yasutaka Nakata produced 2000s J-pop having a full circle moment, as well as Black musicians pioneering techno and house, with this J-pop subgenre drawing from both making this moment go deeper in history. I am not complaining about it in the slightest because the artists who have taken that path have amended the style to work for them so far, therefore letting the tracks stand strong regardless of said nostalgia factor. In LSDXOXO’s case, the tone of his take on the style is unlike the aforementioned songs. Techno and house have been at the heart of his work for throughout his whole career, so this experience and the melancholic-ish tone of the album amount for a more mellow but really memorable synth pop/alternative R&B track. If you’re simultaneously a 2000s J-pop and contemporary EDM enjoyer and you’re seeking those dance pop highs but maybe with a colder twist, you’re the target audience for this.

❤️‍🩹 Viola - Yves

The beloved LOONA members bouncing back from everything they’ve put through and finding their own callings whether in groups or as soloists is something I find immensely commendable. Out of the girls’ post-BBC (keep pirating the BBC music btw) releases, Viola became an instant favorite with its 2010s-20s Hannah Diamond and A.G. Cook coded OG hyperpop realness, immaculate sound design and refined (especially by K-pop standards) creative direction. My liking for this track is representative of my K-pop and non K-pop tastes blending into each other, as it pushes the boundaries of K-pop and possesses some of my favorite characteristics of my most played music from the alternative pop scene. The vocals are distorted, the synths are pitched, everything is processed and multi-layered, the MV isn’t too show-offish and instead relies on the wonders of cinematography and video editing. (I am strongly against Paix Per Mil’s use of generative AI though, and so is Yves herself.) Just like that, the rules of mainstream K-pop are tastefully bent. Something I truly appreciate about Yves and her team is that they’re successfully building a niche. Rather than trying to find that hit or predict what the GP or different fanbases will support, they’re forming a community that is truly here for her very own music and artistry, as well as giving a handful of long-time Orbits the experimentation they were anticipating for years. I’ve been pleading for K-pop labels to follow this tactic for ages and stop pandering to just about anybody, so seeing such a refreshing release is like a dream come true. No matter your familiarity with K-pop or LOONA, Yves is a full-fledged solo artist worth following.

❤️‍🩹 BACK2BACK - STARKIDS*

First things first, Starkids will pay for that heinous disbandment prank of theirs. That’s a line you simply don’t cross with a veteran K-popper that has been traumatized from some of her favorite groups being mistreated and disbanding, one of the worst incidents happening THIS SUMMER. My heart dropped to the 10th circle of hell when I saw that letter on their page with the “translation” and all. In my gut I sensed that they were trolling, but I was also mentally unprepared to lose this unmatched Japanese hyperpop band that continued to cook up hits. Anyway, that really did turn out to be a gimmick for a surprise FULL album drop so they’re forgiven. The most accurate description I can give about Starkids is that they’re the life of the party in the Japanese music scene, and honestly music overall. They know how to have fun to the fullest and reflect that dopamine rush in every aspect of their work. Their new album is no exception to this, and each one of the songs feels injectable, but currently I’m the most stuck on Back2Back. I’m a sucker for both 2-step and 4/4 club beats, so the combination of both (and especially that first switch-up) spoke to me. “Prod. BENXNI” says everything you need about the production quality (hint: that means it’s top-tier). And once again, they don’t take themselves too seriously with their bars or attitudes, but what distinguishes them from low quality so-called “satire” is that they put their souls into it. Yes, they’re unserious and lean into irony at times, but it’s all authentic, hearty and expertly executed. The members have talked about being purely themselves and how that’s a huge priority for them, and they’re surely achieving that and therefore getting love from me and fellow listeners. They’ve proven that they won’t change their mind on staying true to themselves, so there’s nothing to worry about in relation to the music or the group. I just need them to never scare me with that type of prank ever again.

❤️‍🩹 Shoulda Woulda Coulda - FLO*

Beautiful vocals, no-skip catalogue, charisma and chemistry: the ingredients for the UK’s it group FLO. I’ve been a huge FLOlifer since their debut EP The Lead, and they finally have their anticipated debut album Access All Areas out; seeing them grow so much and do their thing on this project makes me proud as an almost day 1 fan. 🥹 The album plays around with different sides of R&B and showcases the girls’ improved skills, and naturally I didn’t have an easy time picking a definite favorite track, but my dice ended up rolling on Shoulda Woulda Coulda. It’s one of the most 2000s callback type songs on the LP, marking a return to The Lead and 3 of Us’ sound which is my favorite musical style from them and a large part of the appeal of this song particularly. However, just like true musical it girls and innovative artists, they don’t entirely rely on nostalgia. I’ve talked about this in both in this post and probably many previous posts, but as tempting it is to market directly through the past, it immediately turns cheap if you don’t have your own spin to it, you just end up with ripoffs in the name of “bringing the good old music back”. Thankfully that’s a trap FLO avoid, curating their work surrounding their own identity and what suits them. The harmonizing right off the bat tells you about the vocal strength of the track (and what they have in store in general), the structure is full but never overwhelming (length is 3:47 too so we’re eating 🙏🏻), the violins at the back add depth to the instrumentals. The bridge is one of their best, and that says a lot because catching up to their bridge building is on the bucket list of future architects. Congratulations to FLO for coming through with girl group excellence like they always do, and I’m sure their future endeavors will take them places even further.

Mini-reviews

🍁 Midnight Cowboy - JADE: Mesmerizing voice, gritty-leaning production. Currently 3 singles in, with this being the second one, and Jade is already a cutting-edge popstar.

🍁 UNHHH - Lolo Zouaï: Yet another dancey R&B smash from Lolo, impressed but not surprised. Yeah you know I’m tryna unhhh, unhhhh

🍁 f5ve - Underground (DJ Chari, French Cries, STARKIDS Remix): It would be criminal of me to write so much about two of my favorite hyperpop bands and not mention their very real COLLABORATION. It’s everything I could ask from a f5ve x Starkids collab and more. The breakbeats are too scrumptious, French Cries/Spaceboy you’re so loved.

🍁 2BADGYALZ - Bree Runway: Another one of my favorite UK it girls on some of the nastiest bass I’ve heard in my entire life. So worth having my brains blown off.

🍁 6plus9 - HYRA: When am I not up for more textured ‘00s inspired electropop, another top-notch example at that?

🍁 take it offff - horsegiirL: So thankful to @lilamala for putting me onto her because I’ve received nothing but bangers, whether they remain in the usual happy hardcore zone or slide onto some Eurodance.

🍁 NATSUMELO - Shaka Bose: Last but never least. Kind of resembles his earlier work such as In My Space but shows his advancement in producing and rapping. I don’t know how many times this man has talked about finishing the album, but he needs to know I cannot wait for it.

💿 VIP - Isabella Lovestory

Previously seen in the Amor Hardcore era, Isabella knows how to do a good, intricate, attention-grabbing rollout: From the single choices to the accompanying concepts and visuals, she really lets you know that she’s back and about to show what being a real multi-media artist looks like. After the Helter Skelter inspired, kind of dramatic and theatrical, even, neo-reggaeton IL2 lead single Botoxxx, came the West coast hip-hop influenced BANGER that is VIP. I’ve been on the VIP wagon since May 11, when she teased it on a live-stream, and coincidentally it was the only unreleased song I could properly screen record, and I was hooked right there and then. That didn’t stop me from breaking the YouTube Music loop button on June 7, the actual release date of the song. Firstly, one thing Chicken (VIP’s producer, Isabella’s long-time collaborator) is gonna do is turn a track into a complete earworm with synths alone. Once you hear that trap synth pattern, good luck getting that out of your head for a good couple of months at least, not like that’s something you’re gonna want to do anyway. Secondly, Isabella’s earthiness and showcase of confidence is in a different dimension specifically on this track of hers. The bars and delivery are extra sticky, and I quite gravitate towards her singing/rapping in a deeper voice. Overall, VIP was pretty much THE summer anthem for me as well as instantly topping my personal Isabella Lovestory song ranking, however I am looking forward to her outdoing herself once more on her next project. (Embedding the SoundCloud link because the song sounds differently mixed in the MV, however as mentioned I highly recommend giving Isabella’s MVs a watch.)

💿 Underground - f5ve (+ an incredibly niche girl group redemption arc)

My mutual @nayeonline (whose music reviews I highly recommend checking out btw if you haven’t) made this compass diagram of girl groups and their concepts, and while the compass pertained to girl groups, they asked me about J-pop girl groups that pulled off something cute-futuristic. In a way, if we stretch and reach, this was a manifestation of f5ve’s 2024 comeback(s) and rise to recognition. After the debated (and overhated imo because have we heard the Umru remix?) “pots and pans” trap debut Fire Truck under the name SG5 and a Sailor Moon concept, they rebranded as their current name alongside an “intergalactic agents” direction, and came back with Lettuce. The first comeback was cute but was on the line of losing me due to the… puzzling visuals (literal lettuce involved out of nowhere) and the song not being as interesting as it could be. After garnering more fans through relatable, “chronically online” social media humor, f5ve made their real grand entrance with the rollout of Underground. This is where the girl group concept talk comes in: the girls and their creative team finally got the precise formula to serve the perfect mix of glitzy, sweet, forward-looking and nostalgic — right in the middle of the compass.

Underground, produced by the group’s executive producer BloodPop and Count Baldor, puts down sonic roots in happy hardcore and Eurobeat, two genres I’m drawn to. The track subtly nods to fast-paced 2000s J-pop and Japanese rhythm games while bringing in sounds that the current microtrends haven’t caught up on into the pop game. It tells a story of a getaway from corporate life and workaholicism, into an underground alien club. (I described Cyberia by Meth Math in a similar way and both are happy hardcore… crumbs?) Recent “office siren” aesthetics, Japanese raves, parapara and dekotora are some of the sugar and spice for the flashy, well-defined music video and visuals. What I love about this overall release and f5ve’s current direction is the precision of everything. The vision truly has settled for the music, the sound design, the concepts, the promotion and everything that makes up the group’s artistic and commercial identity. The audio-visual world f5ve are trying to convey is crystal clear, which is a trait I absolutely yearn for and something that desperately needs to be achieved more in pop music. Underground is pointy and straight-forward, it’s a throbbing pop tune that presents itself as very much one, however not only is it done with such excellence that it becomes an advantage rather than “just another girl group pop song”, but also with where f5ve and the team behind them are heading right now, there will be room for versatility while their said identity and uniqueness remains fully in tact. These girls are on a roll and I can gladly say I’ve BEEN standing with them.

💿 Hot Mess - aespa

Get up, it’s K-pop cybergirls aespa serving EDM realness o’clock. After their debut album Armageddon, which contained some of aespa’s absolute peaks but unfortunately was underwhelming as a whole album, the girl group make their Japanese debut with a triple single (or double if we’re excluding Zoom Zoom which was previously released as the Beyblade ending theme). With Hot Mess, aespa drift from the density of Supernova and Armageddon, and return with a more poppy song and a more frisky theme while staying true to their origins. The track possesses the sharp trap foundation of Savage while introducing a sax (don’t let that throw you off like because it’s done in a way that fits really well), and it all forms something possibly 2000s/10s Vocaloid J-pop coded, especially with how textured but bright the production is. (I don’t think I need to mention the vocals because, come on, it’s aespa we’re talking and they’ve sung times more difficult stuff.)

As for the visuals, aespacore is versatile after all: it doesn’t only have to mean the metallics and the digital world, it can also be flipped into more luminant æ-emblems, pastel-colored 2000s editorial aesthetics and posing on a scanner à la the cover art for Electro World by Perfume. The music video plays around with many of the core elements and past scenes that aespa have had to offer, and it’s why I think it deserves a lot more appreciation. The Rocket Puncher, Xenoglossy, Armamenter and ED Hacker equipment take a more techy and down-to-earth form, while their users undergo magical girl transformations straight from beloved fantasy anime. This is a great choice for a Japanese debut especially, as well as the nostalgic sticker filters going on in the scenes for the second verse. Besides, Ningning now has a whole pink gas station to set on fire instead of Giselle’s house, and the girls are giants during the daytime with their heroine main character outfits, and the iconic flying Winter scene in Supernova gets a callback. All these self-callbacks are the most wholesome thing ever to me, it’s a such good nod to aespa themselves and their memorable past moments, while standing firm as a full-fledged music video on its own. It brings me an insane amount of joy, to me it’s literally dopamine in the form of a YouTube link.

Something I want to mention is how surreal it feels that aespa’s garbage fire record label is finally catching up with the value of consistency, giving us seasonal music instead of using the group as either unreciprocated piggy banks or shields during idiotic infighting. However, I am never a company devotee so I must also mention that aespa should’ve slowed down with the tours, and it’s unfortunate how said consistency came at the expense of the members’ health, due to the other side of the mismanagement coin. aespa we love you, SM you won’t get anywhere near the pearly gates.

💿 Blink Twice - Cecile Believe (Tender The Spark*)

One of my favorite things about keeping a closer eye on musical connections between artists, such as checking on artists’ producers, labels and collaboration circles, is frequently discovering new gems, and sometimes quickly getting into the artists I’ve been meaning to tap into. In this case, I’ve been severely missing out on Cecile Believe, who’s known for collaborating with SOPHIE (most of the vocals on Oil of Every Pearl’s Un-Insides are by Cecile), Shygirl, Kero Kero Bonito, A. G. Cook, Namasenda and more. Back in late June, around Blink Twice’s release, Sega Bodega welcomed Cecile into his new record label ambient tweets and posted about Blink Twice, and while I was kind of late to the party, having only listened to the song in July, I was blown away by the vocals, the production, the sound design, the atmosphere and everything this track had to bring to the table. At first glance, the message is simple and effective: blink twice if you wanna escape from a loveless, hollow life, into the oblivion of company and euphoria. The song itself is almost like a hazy labyrinth, with the howling and pluck synths as well as the echoed and looped vocals. One thing about me, though, I adore motifs and details, and in this case, eyes and vision are the centerpiece, both physical and metaphorical. Blink, say it with your eyes, I’ll show you how I believe in you. Such a spot-on choice to accompany the misty, dusk-like worldview of the track: Cecile, indeed, shows us a gateway to her musical and inner world, and leads us into believing, by both expanding our vision, leaving us wanting more, and blurring it, leading us to getting lost in the world of Blink Twice.

💿 Junebug - Raveena feat. JPEGMAFIA (Where The Butterflies Go In The Rain*)

“Free therapy” is a colloquial phrase thrown around for music possibly more often than it should be, but in Raveena’s case, there should be academic studies on the healing powers of her mp3 files. In full seriousness. Her work, her songs, her projects go beyond warm hugs; Raveena gently caresses her listeners with her sugary voice, sincere lyricism, lulling melodies and contagious sweetness. What she does just heals my spirit, and shout-out to @timetravellingkitty for motivating me to experience that more and building up hype (at least on my dashboard) for a new chapter in her book. Junebug, the third single for the new era, currently remains my favorite off of the gorgeous new album. Maybe it’s just me being a sucker for a BEAT, but the drums and jazz organ immediately had my ears perked up. A key change, heartfelt vocals, beautiful storytelling are some strong suits of Raveena songs that reappear here as well. JPEGMAFIA’s verse not only fit the tone (which is, in all honesty, the bare minimum for features despite the mark being missed one too many times), but is also an addition to the story Raveena presents to us both with the lyrics and delivery. And let me mention the lyrics and the main theme again: it’s a romantic-melancholic tale of lovers that can only really last while the daytime is longer, as in the junebugs that will have to close themselves off when the sunset starts coming early. Wow, there really are musicians that will paint you a whole world using notes and lyrics and create it all on what’s most likely a casual Tuesday.

💿 Bubble Bath - AJ Tracey

This year, there were numerous high quality viral tracks with artists getting the recognition that they deserve, some of which include some all-time faves, but my personal nomination for “2024’s summer hit that got away” is undoubtedly Bubble Bath. AJ Tracey is a figure that the UK rap scene should be more thrilled to have, I’ve been a casual listener of his since hearing Wifey Riddim 4 on Shygirl’s Cover Mix for Mixmag (once again thank you Shygirl, because me getting into AJ AND Brutalismus 3000 through one DJ mix?). While I admittedly haven’t checked out his whole catalogue, from the recent stuff I’ve heard, he pulls off smooth laid-back flows (a quality you’ll appreciate if you’re anticipating more from Yuki Chiba) without leaving out the effort in his bars, sound and visuals (with all due disrespect, Central Cee and a good amount of other male rappers can catch it). This single by AJ, currently his most recent one in an ongoing immaculate single run, incorporates a music box synth into a catchy Afroswing base, and the verses and chorus are simply irresistible, replaying in my head to this day. With the intensity of a lot of the music I keep in my usual rotation (no shade whatsoever, I still LOVE my overloading music), the high-quality simplicity and casualness of this track adds to the variety of my tastes. “Bubble bath on the nail, she a Goyard girlie, she could short hair, bob it, or curly” specifically deserved a publicly acknowledged “one of the most fun lyrics of 2024” title.

Mini-reviews

🏁 survival dAnce - 4s4ki: Call it @pocima payola, call it bias, but you can never deny that 4s4ki never misses with her music and deserves her seasonal spot in these lists. Wonderful flip of a 90s J-pop classic by TRF with banging production. The music video is one of her best to date. Encapsulates the energy of the fandom really well, and by that I mean me and my oomfs that I converted into 4s4ki fanship really move like a cult. (She also teased this song in July that I STILL expeditiously need her to release. That honestly deserves a review of its own. In the meantime, stream her new EP Collective Obsession, which I will be reviewing as well 🫶🏻)

🏁 SCARYHOT - Taichu: Owing my Taichu discovery to @a-moth-to-the-light and @lilamala, she’s such a hit-making baddie and I quite dig her aesthetics. Her music has been on replay for my neoperreo-pilled soul, and the thumping house beat and confidence of this track was no exception. Oh, and another sick MV from the season (flash/strobe warning, view with discretion)

🏁 POPPER! - Akriila & Taichu: More neoperreo, more Taichu AND a new fave artist to keep an eye on. Honestly I loved Akriila’s entire epistolares album (another possible future review alert) and still struggle picking a favorite track off of it, but there’s something special about this type of noisy neo-reggaeton.

🏁 RED OUT - Kenshi Yonezu: One of the fathers of J-pop dropping a new album AND the lead single being the gritty electronic perfection I was craving more from him? I’ll take your entire stock, thank you. fogbound got its most worthy opponent yet.

🏁 Check - FLO: R&B princesses coming through as always and adding a Miami bass bop to their flawless discography. And remember how I was pleading for a debut album from them on my last entry? They heard me. So hyped for Access All Areas, out November 15 🙏🏻

🏁 Tartady - Ayau & A.boo: I have a soon-to-be-long post praising ALPHA sitting in my drafts, and if you’ve stuck around on my page this summer, you know I’m a huge enthusiast of their discography and the voices of their vocal line. A.boo on an R&B song was one of my wishes from the group, and I got that with his collab with the Kazakh alt pop delight Ayau. The music video being teased and not released is evil, though.

🏁 Senen Basqa - Madi Rymbaev & i: More exciting ALPHA features, this time with Aqzhol and his sweet higher range. As you can tell I’ve been needing more house in my life during the summer, which ALPHA’s group releases really showed out with, and now we get this piece leaning into garage too. It’s a yes from me.

🏁 GAME - echo: Hypertonic by TAN’s sister, and that’s already a huge compliment considering both are 2000s Japanese electropop inspired magnificence. I still can’t believe I discovered echo and this song on Instagram because the music promoted on there leans closer into being torturous, but this is a deeper cut with actual immense hit potential.

🏁 Bikini - Nick Léon & Erika de Casier: Firstly, can anything involving Nick Léon and/or Erika de Casier go wrong? The two are back at making magic after winter favorite Erika-Shygirl joint track Ex-Girlfriend (you can read the review on that in the winter installment of my music highlights), and now we get this Brazilian funk-dembow-trance sunset soundtrack.

🏁 Goodbye - Sumin & Slom: We’re SO back with the release of Miniseries 2, the entire project is a valley to lay in all day but this song especially does so much with its beautifully arranged minimalism.

🏁 Fugitivo Vol. 25 - Lua de Santana prod. Rico Rosa: Last but absolutely not least, Lua de Santana is a star. Rap, MCing, vocals AND it girl factor, she has and delivers all of these. It’s about time that such a talent will shake up the Brazilian funk scene.

☾ Mine - aespa

The looooooong anticipated release day of Armageddon the album was a national holiday for Synkcity. We’re seeing such bright times after all these hate trains, mismanagement from SM, the sabotage from rival companies coming to light and what-the-hell-not, honestly. After nearly three whole years and three EPs, aespa finally present their full-length debut. Needless to say, singles Supernova and Armageddon are top-notch, continuing aespa’s all-smash title track streak. However, there was an album delight that blew my damn mind, and it was Mine. Hearing the first chorus in the highlight medley was enough to keep in mind that the track would be one of the best b-sides of the album, but I regretfully have to admit I didn’t think it would be one of aespa’s biggest guns as a whole. My jaw fell harder with every. second. of this. song. Karina and Ningning’s breathy, sassy, forceful, majestic raps kickstart the track along with tambourines that feel like digital diamonds jingling up in front of you. Winter comes through with the earth-shattering second half of the prechorus, and Giselle kills it by spitting one of her most plate-shifting rap verses. A major reason why Mine is my personal favorite off of the album is because how much everyone shines in their own right. Winter and Ningning are back at being one of 4th gen’s iconic vocal duos (as well as their pleasing rap lines), Giselle retrieves her well-deserved main rapper position (SM you can still catch it), and Karina effortlessly wraps both the vocal and rap roles around her fingers as she always does. That bridge? That bridge is disgusting even for four of the bridge architects of K-pop. The girls absolutely outdid themselves on this. The instrumental track may be less maximalist than the title tracks’ or, say, Set The Tone’s, but oh boy are they vehement and so hypnotic. The drums, the synths, especially the ones in the last chorus… it all forms together to make the song nastier and nastier as it progresses. Everyone involved in this walked into the studio with a mission to change the trajectory of music. I’m afraid I’m in this MY lifestyle for long. aespa truly are unsteppable.

☾ Fácil - Empress Of*

For Your Consideration promoted Empress Of into my new favorite indie popstar, and Fácil is my chosen earworm off of it. Every song on the album is so sultry and charismatic, and Fácil has this distinguishing sharpness in its sound, courtesy of umru, to top it off. Empress Of’s ear for memorable melodies and catchy lyrics especially come in clutch here, with casual melodic beatboxing in the background and the looping “tócame aquí, tócame ya, ya, ya, ya”. The self-made hisses and snares go hand in hand with umru’s signature punchy splices. Multiple layers of vocals linger in the entire track, from panting and breathing to sensually delivered lines in the higher range. The bit I’m gonna point out next is more self-indulgent (and I’ve pointed it out on my page previously lol) but nevertheless, I felt like the casual bravado and the combined danceability and grit of the track was akin to candy bOmb by OnlyOneOf, and the more good music with similar vibes, the merrier. Can’t get enough of either.

☾ Hypertonic - TAN (+ my Soda origin story 😙)

TAN have proven themselves to be masters of old gen K-pop revivalism since they came out the gate with their 2022 debut Du Du Du. The group first came to my attention with Walking On The Moon and later in 2023 with the hit Fix You, which went multi-platinum on my personal devices. For some strange reason, I still didn’t fully open my eyes and get into them despite their almost unmatched title tracks. That is until they released the first-day diamond-certified Hypertonic. Hypertonic, as a song, is pretty much everything I could ask for from a new gen pop boyband: in-your-face electronic production, intriguing composition, high-powered vocals and raps, and a full song structure, despite the track duration falling slightly below 3 minutes. The gritty synth heavy instrumentals are robotic and over the top in the best way possible, giving you the feeling that they’re straight out of 2000-10s Japanese EDM archives. The verses, chorus, rap and bridge hit all the right spots, going with the instrumentals instead of being overshadowed by them or vice versa. The high notes in the bridge and outro couldn’t have topped off the track’s overflowing energy any better. Now, I wanna bring up how I was particularly taken over by the first half of the second verse. I mean it when I say “taken over” because I was so obsessed with that particular member’s flawless line delivery that I was scrambling to learn their names. The particular member turned out to be their main vocalist Jooan, and it all made sense because he was behind the perfect vibratos (earned by his musical theater education), a good amount of high notes and runs (along with brilliant lead vocalist Hyunyeop) and bits that blew me away in previous songs I’ve heard from the group. Honestly, I was starstruck by all of TAN at first Kprofiles browsing sesh. I mean, what’s there not to love about a band of superb singers (+ superb main rapper Jiseong who’s obviously included in the “singers”), dancers, songwriters, producers (the self-production makes the music even more impressive), choreographers and overall artists who are intensely passionate and excellent at everything they do? This type of multi-skill and well-roundedness is exactly what I seek and keep up with in both K-pop and outside of it. Jooan though… you will pay for being the cause of some of my most humiliating K-pop fangirl posts. Love me a mind-blowing vocalist (duh), dancer, rapper, songwriter, producer, sound engineer, overall a true all-rounder with an irresistible face card. Please give these dudes’ music a stream or two because they really have no business not getting their flowers from K-pop fans and tasteful people.

☾ Malena - Domiziana

Somebody took “after your biggest flop comes your biggest slay” a bit too literally, and I am more than satisfied with that. After the colossal washout that was Domiziana’s previous single Katholisch Erzogen, which was merely another one of the examples of cheap blasphemy for shock factor accompanied by a fake-creepy beat straight out of the Tiktok “musician” archives, Malena turned everything around. Not only was it a massive bounce back from whatever she had going on with that disaster, but also an upgrade in her whole career in every single way. The production is arguably her most minimal but most defined and well-executed to date, with the amapiano influences and siren-like background vocals doing wonders. The vocals and lyrics are her best by a landslide as well. The whispery, high head voice stays, but this time with more emotion and variety in delivery. We listen to a story about cheating, betrayal and a lack of commitment, enriched with references to the cult classic movie Malena, the namesake of the track. The music video is set in Domiziana’s mother’s hometown, Catania, with different sets, cameras and editing. Malena ends up being an incredible audiovisual experience and the current highlight of Domiziana’s work. Maybe it’s just her highs and lows, maybe it’s her taking her career more seriously than ever, hopefully the latter. May she beat the one-hit wonder allegations (mind you, Ohne Benzin doesn’t hold a candle to this masterpiece) and continue to serve like this.

☾ Lipgloss - Terror Jr

A portion of pop music fans constantly ask for the good old 00-10s to be brought back, meanwhile some others wish to move on and focus on more future-oriented, complex sounds instead. Lipgloss masterfully combines both, delivering nostalgia yet nonetheless sounding shiny and brand new. The simple repeated chorus, casual lyrics and the vibe of the production overall feel 2016, and fans have likened the song to Terror Jr’s Bop City era’s sound. Still, the natural execution of this song makes it solid and refreshing on its own rather than a pathetic attempt at reviving what pop used to do. It took me a bit too long to find out that the experimental pop duo’s producer David Singer-Vine was ½ of The Cataracs, a producer duo behind numerous 2010s pop hits such as Like a G6 by Far East Movement and In The Dark by DEV (along with the entire The Night The Sun Came Out album). As a solo artist he produced songs such as Gold by Kiiara and Stuck With Me by Tinashe. This made the Terror Jr experience make a lot more sense: listening to their music feels like taking a trip to the present in a fancy time machine, with hosts who have a nice grasp on the past and the future. Special shoutout to that music box all over the instrumentals by the way, that scratched my brain just right.

☾ Perfect - Cosha

I didn’t call the MurMurs EP the “free therapy album” when it first dropped for no reason, you know. Alternative R&B hidden treasure Cosha returns to heal us all after her 2021 re-debut album Mt. Pleasant, with more of her sublime melodies and vocals. In the EP, Cosha keeps switching from soulful, serene and down-tempo (Fire Me Up, MurMurs Interlude) to drum-heavy, danceable and inviting (Relish, Glow). Meanwhile, Perfect pinpoints that sweet middle ground. Firstly, the beat is absolutely hooking. The drums, bass and recurring plucks pull me in the most, and Cosha’s higher-range head voice is pure magic, especially in the chorus. The second verse has this slight beat switch that brings forward the bass that I’m obsessed with, and then we’re back to that divine chorus with even more adlibs, high notes and harmonies. It’s laced. I feel like the whole project, but especially this specific song, would suit many people’s tastes, so this is especially a deep cut recommendation of mine to everybody.

Mini reviews

❥ Nasty - Tinashe: I feel so bad that this is going into the mini reviews section because the song has been on rotation since it dropped, I don’t believe I need to elaborate on its earworm factor. Obviously, Tinashe has an ear for hits, and the production is relatively simple yet so effective. So glad that it’s going viral and Tinashe is getting the hype she deserves.

❥ You know what (Hey listen) - 4s4ki: I’m afraid as long as 4s4ki keeps making music, she will keep appearing on all my favorites lists. She just can’t miss no matter what genre or sound she tries out. This one’s for the people that get their head in their hands and slide down a wall at 1AM. Give us vocals, give us guitar breakdowns, give us a REAL love song, give us everything, queen.

❥ Hard dreams - Gesaffelstein feat. Yan Wagner: Real techno’s been so back since Gamma dropped. The visuals for this album still hold their title of being the best of the year, by the way.

❥ Botoxxx - Isabella Lovestory: She SLID on that bridge. Love to see the budget in the MV. We need the sophomore album.

❥ Caught Up - FLO: The guitars? The vocals? That key switch in the bridge? FLO’s discography is still flawless. We need the debut album.

❅ winter again - 4s4ki

What better way to start a songs of the winter list than with THE anthem of this winter season? With her ability to not only pull off but absolutely excel at the different genres she incorporates into her music, 4s4ki simply never disappoints. She went into the studio with a mission to give the famous Last Christmas by Wham! a true successor and the mission was wonderfully accomplished. In this mellow 80s pop influenced track, she channels her inner Cocteau Twins (word to that one YouTube comment in the lyric video) while longing for a loved one that didn’t seem to stay by her side not even to have some canned coffee and bento this holiday season. Now I’m gonna channel my inner platonic delulu and say that it was released just on time, when I was discovering and especially feeling Boy Harsher’s alternative 80s inspired music (collab when?). Ironic how a self-described reverse Christmas song ended up doubling my winter spirits. She never fails to give me exactly what I need. I love this woman. (Big ups to Magic sword but as I mentioned I’m keeping the list one song per artist.)

❅ 4eva - Shygirl feat. Empress Of

You know from my username that I’ve been loving what Shygirl has had to offer for quite a while now, and 4eva was my personal post-Nymph jam ever since I heard a snippet of it back in last September and neither the full studio version nor my intuition let me down. Shygirl’s rapping and Empress Of’s verse over the Kingdom-produced delicious wobbly synths indeed stay playing on my mind. Empress Of’s feature came as a tracklist surprise and I’m more grateful for it than I had expected. The jungle drums in the chorus, and honestly the structure of the song in general were unexpected to me as well, but nevertheless they took part in forming possibly my favorite dance track of 2024. Both the Club Shy EP and 4eva have secured firm spots in my favorites of the year.

❅ Deer Teeth - Sega Bodega

Father of music, first ever man in the music industry, smash hit sorcerer, my favorite producer of all time… However you may refer to Sega Bodega, you can always rely on him to create an entire universe in one record and take you there and back. With Deer Teeth, he tells a story of a sighting of a late mother laid to rest with her child in a swan’s wings along with 200 deer teeth (hence the song title), which brings with itself a tale of hope, sacrifice and eternity. With reversed and distorted vocals, the addition of Mayah Alkhateri’s siren-like voice and obviously Sega’s otherworldly production style, the tale transforms into a cinematic masterpiece in sound form. Extra note: perfect to fall asleep to in a road trip, tried and tested. Both Deer Teeth and his newer single Set Me Free, I’m an Animal are stunning masterpieces, and I know this will make my year-end album list real predictable but SB3 is the most solid candidate for the top spot as of right now. Save me Sega Bodega, save me…

❅ Ex-Girlfriend - Erika de Casier feat. Shygirl

New slow R&B earworms drawing on different nostalgic genres couldn’t be more perfect for the chilly season, especially when they’re delivered by the one and only Erika de Casier. She has this ability to mix the best musical aspects of the near past (namely the 90s/00s) with her very own sensuality, freshness and uniqueness. Her soft vocals over a down-tempo R&B beat to match come after an orchestral, arguably dramatic intro and the melancholic, yearning yet cocky-ish tone is set. Shygirl’s deep, almost raspy voice always shines with slow, gloomy instrumentals (also seen in Lapdance from Asia by Cosha) and this track was no exception, matter of fact it’s now certainly one of my favorite features of hers. I will be returning to this song not only on the colder days of March, but the whole year, or rather until it’s wiped off existence completely.

❅ Cyberia - Meth Math

Before the quirky experimental trio’s slightly overdue, highly anticipated debut album Chupetones (go give the best b-side Pócima a listen too), they released 4 singles and I was not at all aware beforehand of the release of the third one. Pressed play, was impressed, pressed the loop button and the rest (at least 80 plays within the first week) was history. The intro immediately catches your attention, and the descriptions of a sad-looking happily-dancing angel over toot sounds, ripping synths and bonking bass transition into happy hardcore perfection. The 3-second bit before the second chorus gets me the most, it’s like a minuscule break to slow down and reflect on the all the absurdity before resuming the alien dancefloor madness. This banger completes my Meth Math song holy trinity, which is now Tambaleo-Fantasía Final-Cyberia. Add Pócima into the mix if you wanna form the four horsemen. Whatever your personal favorite may be, we can all agree that Meth Math always come at us with excellence.

❅ dOpamine - OnlyOneOf

Hallelujah. We have finally reached an era where all lyOns can live in harmony and sleep in peace instead of fighting over title tracks and new lows for the group’s flaming hot garbage record label. Even their biggest haters (so-called “fans” with a strange superiority complex) were finally praising an OnlyOneOf title track, and with how good it really is I’d be admiring their dedication to hating their own faves if they didn’t. Anyway, dOpamine is one of their best, it really is. I’ve been hoping for them to get on the drum & bass train for quite a while now, and they did it with a bright, twinkling, breakbeat-incorporating twist. They don’t lazily dip their toes into dnb and breakcore and leave it at that though, the buildups and structure of the track stay fascinating and the bridge drifts (should I intend the pun?) into their gritty industrial side before the outro closing out the song on a vocally strong, passionate but never over-the-top note. While the whole mini is exquisite, the lead single ended up being my favorite. Simply put, OnlyOneOf never fail to deliver quality K-pop against all odds.

❅ Sorbet - Kelela (LSDXOXO Remix)

The pre-release singles off of the RAVE:N remix album were all incredible just like its album tracks, however this gem is particularly lingering on me and my February mood. This spin on Sorbet encapsulates the AM club aspect of the project in one re-envisioned tune. Kelela and LSDXOXO, who produced and remixed numerous of her songs, reunite as a power duo to turn the dulcet, sedate Sorbet into a Eurodance-coded amped-up slapper that will get anyone moving. You can tell the song is DJ set opener material from when the first beat kick. The chorus melody sticks to your mind and the late night-like sonic experience becomes unforgettable. The special encounter requiring dim lighting is now set in a flashy rave scene. Completely flipped scenario yet everything makes perfect sense. All in all, Kelela’s vision for her dance records is 20/20 and LSDXOXO’s execution never leaves you hanging either.

❅ Fuetazo - Isabella Lovestory feat. Villano Antillano

Born to embody camp, forced… no, also born to be a hit maker. Isabella is undebatably one of the freshest, most outstanding figures of neoperreo and neoreggaeton, and her eccentric flare still comes through in a single as a (hopefully) pre-album snack. Fuetazo was released early into the season and closed out Isabella’s activities for the year. While the playful chorus introduces a whip that comes and goes, Villano Antillano mentions vacations and 42-inch weaves with her tone that meshes with the cheekiness of the track, and their chopped up vocal bits go back-and-forth in the outro. With the Chicken, Kamixlo and Dinamarca producer trio, the instrumentals can’t go wrong. The hard-hitting dembow drums and the lighter synths and other aspects of the song create a contrast that feels like a breeze, maybe more of a summer one even but a confidence booster gots to stay on rotation regardless of weather or temperature.

❅ Messy Room - The Deep (+ mini EP review)

Had I postponed the release of my 2023 fave project list just a little, the Messy Room EP would have at least scored an honorable mention. For those who need a quick debrief: The Deep is an independent K-alternative artist whose discography radiates coziness and sweetness. Mayhaps I should say sugar, spice and everything nice. Taking part in the production of her music, creative direction and visual curation, she ticks all the boxes for the bedroom pop star that should’ve reached her target audience ages ago. While she’s taken inspiration from R&B and indie and still does, “resurfaced” genres such as UK garage, dnb and Jersey club are fairly newer additions to her range. I love all of these genres as you could tell and I adore the songs in which she uses them (got into her through the UKG bop Muah!), but surprisingly the track that glanced at her “roots” hooked me in the most. Maybe it’s because it contains the core “messy room” atmosphere of the EP, maybe it’s her soft vocals shining brightly, maybe it’s because she has the recipe to making a tune to unwind to. I hope this praise doesn’t sound like a jab at the rest of the EP because not a single skip is detected over there. In Brand New House and BAPPI, The Deep talks about deserving the luxuries and getting to the bag over garage and house beats. bow wow is about confidence despite troubles and annoyances, while 20’s is a self-reflection on the constant search for perfection and attempts to heal. The project is most definitely worth checking out if you want a bit of calm, refreshing new music, or if you’re looking for a multi-skilled artist to support.

One line section (music I loved but honestly don’t have as much to say about, so I fit my thoughts into one line/sentence)

❆ Gold On Me: Mother ABRA is back and I’m definitely checking out Groupthink after this, now it’s time for the album innit 🍽️ (should’ve definitely written about this in more detail but maybe another time soz)

❆ 4 noviosS: While everyone came to Club Shy to play, she entered with pen and paper and a goal.

❆ Perdió Este Culo: I have to give flowers where they’re due, I wish the La Joia album had more quality of this level though. (However shoutout to Sexy, La Que No Se Mueva and Sin Carné.)

❆ TYOSTAR: Can’t tell if their music is aimed at dudebros (disgustingly irritating audience) or hyperpop girlies (slightly less irritating audience) but they scored a night ride hit either way, definitely one of Starkids’ finest to date.

Track 1: Welcome to MY World - Sega Bodega Remix

Sega Bodega is most likely my favorite producer of all time. Aside from his objective immense talent, versatility and inability to make a single track of his any less than superb, his musical style (especially recent songs) is otherworldly; his music lulls you into a higher setting. While the possibilities of the outcome of Sega Bodega producing/remixing aespa are endless, WTMW’s orchestration, harmonies and beauty go hand in hand with Sega’s work in that sense. His touch would take the song into another dimension, from an introduction story to aespa’s real world side to a guided trip all around it. It would be a Kwangya-ified but still earthly version of WTMW.

Below attached is his song Cicada, which gives a hint on what can be done with the guitars in WTMW and how the song could become more electronic and intricate.

Track 2: Next Level - Masayoshi Iimori Remix

A vast majority of the tracks with Masayoshi Iimori’s involvement give me the feel of racing around in a city with neon lights, with a mission to return to my time machine to come back from the future to the present time before it’s too late. Doesn’t this description fit Next Level like a glove? Iimori could make Next Level more punchy, which is perfect for the confidence of the Kwangya rider anthem, with his “mixed and mastered on a BlackBerry in the best way possible” sound adding to the daring, cosmic atmosphere. He definitely needs to be involved in aespa’s Japan debut and quite frankly, he’s not an unrealistic pick even for SM.

Below attached is Freedom Kingdom by 4s4ki feat. Swervy, produced by him, which is my favorite example of his frequent trance incorporation and use of gritty motor-like synths. Spoiler: this will not be Miss 4s4ki’s only appearance in this post.

Track 3: Savage - A.G. Cook Remix

In all honesty, I don’t believe this needs much elaboration. This man is considered the father of hyperpop, one of the genres aespa are the most influenced by and certainly a genre they could take more advantage of. Savage, the song that solidified aespa as experimental trendsetters in K-pop, becoming more of an outrageous banger than it already is with the A.G. Cook touch, would be a K-pop moment going down in history books.

The track attached below, produced by him, summarizes my vision for a gritty, banging dream Savage 2.0.

Track 4: Drama - umru remix

Let’s preface this with a fun fact: umru’s splice pack was put to good use in Savage, confirmed by the song’s producers and umru himself! His involvement would transform the twinkling, forceful, electric Drama into an even more hardcore anthem. The synths in the song’s chorus already catch your attention before you’re able to catch your breath after the beauty of the intro and verses, and making all the instruments hit even harder would be a move that totally suits aespa to the core.

Below attached is umru’s take on Fire Truck by SG5, which is one of my favorite productions by him and one of the most hard-hitting of his too. I recommend comparing all the remixes in this post to their respective originals to get a better sense of how these producers can change the tracks.

Track 5: I’ll Make You Cry - Iglooghost Remix

From the 8-bit synths to the sudden kicks and claps and the video game finale soundtrack vibes, I’ll Make You Cry and Iglooghost’s production go hand in hand. If I were to pick a word to describe the style of his work, without hesitation, it would be “cyber-dystopian”, and he converts it into sound like no other. I’ll Make You Cry could become more even more mystic and mellow, making aespa’s darker side visible once again. (Word to SM: this is how you expand aespa’s range instead of making an EDM-based group release country song demos.)

Below attached is Iglooghost’s take on Crybaby by ABRA, and if this is what he can do to the original Crybaby (love both and please listen to both versions), that IMYC remix would be something never seen in music, let alone K-pop. I also highly suggest checking out his own work to understand the cyber-dystopian bit better.

Track 6: Illusion - 4s4ki remix

Two scrolls through my account and you’ll immediately know I am THE aespa x 4s4ki truther. President of aes4ki nation. aes4ki priest who has converted three people so far into believers of their joint supremacy so you know it’s tried and tested. 4s4ki and aespa are musical soulmates: the mixture of cybercore and ethereal real world aesthetics and mind-blowing composition on every single song and the lyrics ranging from game/fiction themes to genuine confrontations of virtual worlds to love and sorrow and recovery and the artistry and excellent execution are some incredible traits they have in common as musicians. About Illusion specifically, well firstly I just know that 4s4ki, openly a gamer and anime nerd, would have so much fun working on a song about a virtual snake slurping up some heroines, and she’d eat up aespa’s lore in general. Second, her use of autotune somehow makes her vocals magical and she’s very unafraid to take risks when it comes to music. Illusion’s voice filters, the bass, the surreal atmosphere and that hyper-cosmic feel would be so much more elevated and outrageous with her involvement. If we can’t get a whole album produced by her (I NEED IT SO BAD) at least make this happen. Besides, it would be an incredible full-circle moment for 4s4ki herself, as she has a history of songwriting and producing for others pre-debut, and now she’d be doing it with infinitely much more confidence in her skill and vision.

Now introducing you to into the darkness, my personal fave song of hers and my most played song of 2023. Look at the album cover and listen for yourself. I swear I could praise this woman all day, but I’ll leave it at saying artists like THIS is what aespa deserve, nothing less. MYs, stop what you’re doing and listen to the Killer in Neverland album right now if you haven’t, and you will thank me later.

Track 7: Thirsty - Donatachi Remix

There are artists who just know the recipe to fun, exciting, girly yet still intriguing pop music and Donatachi is a producer who undoubtedly mastered exactly that. Thirsty already has the bubbliness and joy you could ask from a summer jam so why not double it with this remix? This would be perfect to amplify aespa’s ‘00s spy cartoon-coded colorful real world side, and Donatachi is also a perfect choice for this if you take into account his bright cartoon-avatar 3D visuals. aespa’s real world aesthetics and soundscape should definitely be utilized and expanded to truly fit how surreal their concept is.

Below attached is b2b heartbeat feat. Cowgirl Clue, demonstrating the upbeat drum patterns and euphoric feel that could also be used in a Thirsty remix.

Track 8: Trick or Trick - Safety Trance Remix

Trick or Trick is the trick-or-treat anthem MYs deserved, and a remix of it needs to maximize its spookiness while setting it apart from all the familiar creepy-ish K-pop songs. Safety Trance brings his grimy industrial genre-bending sound wherever he goes, which hits the target of creating a more experimental, haunting version of the track. Additionally, as reggaeton and dembow influences become increasingly wide-spread in K-pop, a techno-infused neoperreo take on the wave is the most fitting choice for aespa. With the lead of a prominent figure in the electronic neo-reggaeton scene, the execution of this would turn out flawless.

Below attached is his remix of Incredibly Annoying by VTSS. One of my favorite examples of his consistent style and shows how all-in Trick or Trick could possibly go.

Track 9: Better Things - Florentino Remix

You might be wondering why I chose to give Better Things yet another remix when we already have like 3 of those. Of course the existing remixes are wonderful in their own ways, and the Tropkillaz one is my personal favorite due to its blending of funk, however there’s always room for a full-on Brazilian funk Better Things mix, especially if it’s produced by Florentino. Florentino works with and often seamlessly fuses many genres I have a soft spot for as you could tell, including deconstructed club, neo-reggaeton, baile funk, jungle, breakcore and grime. With such a concoction, the summer anthem could become more distinctive and timeless than it already is.

Below is Florentino’s remix of the adored Nice To Meet You by PinkPantheress, adding in glitchy UK bass, jungle and classic funk drums and grime. The vision for the Better Things remix is crystal clear.

Now, I want to end this post by talking about fans’ wishes for aespa’s future sonic direction. I find many MYs wanting aespa to release hyperpop albums or stick to hyperpop, and while I understand that it’s the bare minimum after the horse girl harmonicas and meemaw ballads that somehow make their way into their God forsaken EPs, even this is nowhere near what’s beneficial for the group in the long-term. Again, aespa have this lingering (thankies to SM 😒) potential to be a multi-faceted EDM group and have one of, if not the, most sophisticated, one-of-a-kind discographies in all of K-pop. It is crucial for them to explore all these EDM subgenres and more instead of getting swayed by shallow trends that come and go. That’s the way to becoming a truly futuristic group that will stand the test of time.

⑩ Ichijikikoku (EP) - Atarashii Gakko!

I can say I somewhat got into Japanese music this year and this anti-idol group with a school leader concept looking camp right in the eye were some of the first artists that caught my attention. Having accidentally come across them through snooping around a beloved mutual’s Spotify profile, the quality of their songs such as Pineapple Kryptonite, Nainainai and Freaks caught me off guard in a great way. Their discography offers various genres such as robotic chant-filled hyperpop, groovy city pop, alternative rock, hip-hop and their latest EP truly showcases their diversity and range. From Otona Blue, the funky pop song that was the push start for the girls to get their rightful recognition, to a revisit to their older rock sound, to their first club banger and more city pop hits, this EP presents what their music has to offer in a nutshell. 2023 treated the school leaders well as they both got their deserved success and delivered a well-rounded project along with other listen-worthy singles.

Favorite tracks: Otome no Bigaku and Giri Giri.

⑨ 3 of Us (EP) - FLO

After taking the Internet’s ‘00s R&B revivalists and girl group appreciators by storm with their first EP Cardboard Box in 2022, this iconic trio went on an ongoing streak to constantly deliver the best and improve their music and skills. 3 of Us serves as lunchables before the upcoming full-course meal which is their debut album, and not so surprisingly considering the consistent high quality of the group’s releases, the snack surely is fulfilling. Two of the tunes were anticipated then-unreleased songs but the title track and the later added-on Suite Life were loved by us FLOlifers as well. The four songs showcase both the group’s incredible vocals and their empowering no-nonsense attitude. The title track is an anthem that shows the world the girls have each other’s backs, through a smooth execution of a humorous scenario of a guy simultaneously trying to toy with the 3 of them. FLO are real it girls, and this mini alone is definitely convincing of that enough.

Favorite tracks: what if I said all of them?

⑧ MY World (EP) - aespa

aespa have long-ago established their cybergirl fighter Kwangya concept and a solid spot in the K-pop industry as a group with one of the strongest group identities, top-notch discographies and powerful vocals. I slowly fell in love with them in 2021 and they have been one of the very few anchors to my interest in K-pop lately. Through mismanagement and complete bs coming from their crappy record label, standing ten toes down with these girls and experiencing the comeback of the summer was 100% worth it. Though the label needs to pull themselves together a little for the creative direction of all of their groups, MY World offered aespa’s two different takes on the summer which somehow felt fresh and unique, still suiting the group and proving aespacore’s wide range. The music, however, gave the signature aespa sound we had missed because of the music drought. Reol and Slayyyter’s souls truly split into two each, possessing the four members and giving us the gritty, in-your-face EDM banger that is the lead single Spicy. Welcome to MY World, the mini’s pre-release single, on the other hand, is an orchestral, alluring alternative pop track, which is a genre I never knew I needed aespa to dip their toes into. Salty and Sweet is a package delivery for the MYs who are especially seated for aespa’s metallic hyperpop releases, while Thirsty is contemporary R&B with a bubbly aespacore twist to it and I’m Unhappy is a splendid hyperballad. No offense but had they left the basic and frankly flow-disrupting ballad ‘Til We Meet Again in the vault, the ranking of the EP would be higher on here, and this is my only criticism of the project music-wise. As I always say on aespa comeback release days: the girls did it again.

Favorite tracks: answer changes every 5 business days but right now I’m gonna go with Welcome to MY World and Spicy.

⑦ Crying in the Carwash (EP) - Lolo Zouaï

I’ve been keeping up with Lolo Zouaï on the low (pun intended, see Encore) since the release day of her sophomore album PLAYGIRL but I might have to pay closer attention to her because of her elevated excellence showcased on this mini. Besides giving her more freedom over her work and artistic direction, returning to her independent artist days allowed her to wiggle more with her own feelings and experiences directly, as opposed to the personas she conveyed the story of PLAYGIRL through. Before the unveiling of the EP, the roll-out fully hooked me in with both the singles and mesmerizing visuals. Encore was the perfect earworm-y invitation to the era, and Crying in the Carwash showed us the rainy panorama none other than Lolo’s mind with soft, melancholic jungle drums as the track’s stand-out point. The rest of the three songs, sitting prettily in the middle, give us soulful R&B blessed with the artist’s gentle vocal runs and UK garage reminiscent of e-motions by Mura Masa and Erika de Casier. All in all, I can’t be the only one who can’t wait to see what Zouaï will have to offer with her future work.

Favorite track: Crying in the Carwash.

⑥ ESFERA DE AMOR - Simona

Esfera de Amor? In “my top 10 favorite projects of the year”? More like “top 10 most slept on albums of the year”. I’m not saying this just because of my personal opinion or just by looking at the streaming numbers either. This project is worth checking out for everyone looking for ethereal, light, bubbly pop à la 4th gen K-pop girl group music. Simona took recent pop micro-trends such as the incorporation of house, UK garage, hyperpop, neo-reggaeton and baile funk, and shaped them up into her very own world of love. The record, while being a relatively easy listen and having the ability to appeal to a wider audience, keeps you attentive and never bored, with an intro that leaves the sense of time and reality behind to make room for dancing and a classy vintage-style interlude. At one stop you unwind, at the second you dance at midnight in your bedroom, and at another you’re an otherworldly romantic. Feel free to do whatever you please, because after all, you’re in a sphere of love where everything’s fine.

Favorite tracks: Adentro de Mí, Polidrama, Plush, Meloni and Llaga Verdadera.

⑤ BB/ANG3L - Tinashe

Tinashe has been an impactful figure in modern R&B for nearly a decade now, with her resumé ranging from choreography material groovy bops to heartfelt, calmer, vocal-heavy songs. BB/ANG3L, in the musician’s own words, combines her past and her present, her darker debut day sound with her faster-paced, catchier, dreamy tunes. The songwriting keeps it real and personal: we go from a dramatic reflection on a toxic relationship, to wanting to be pampered and treated with respect and class, to more reflections and slowly letting go. In the music video for Talk To Me Nice, Tinashe peels away her former self and gets purified with the dripping water, getting down to her essence. (I will further elaborate on my newly found love for water concepts/metaphors in some next entries.) Thanks to producer Machinedrum, garage and dnb rhythms (can you tell those are my weaknesses yet?) are beautifully incorporated in two of the tracks, and the production is atmospheric and tastefully bleak throughout the entire tracklist. Keeping up with Tinashe’s releases for a good while, a couple of years in my case, remains a pleasure with this project of hers.

Favorite track: answer changes often once again and this time I’m picking Tightrope.

④ Raven - Kelela

If there were courses on how to take breaks of long years after releasing a top-tier album and make an even more world-shaking, majestic comeback, Raven would be the diligently studied textbook. Though I personally can’t relate to the 6-year wait as I discovered Kelela at the beginning of this year, my commentary is unnecessary for one to know she is a legend whose impact on alternative R&B, dance music and neo-soul is not up for any questioning. While Raven has even more of a slower and sultrier side than before, the intimacy and maturity stays consistent whether we’re talking jungle, aurora-like synths or soothing orchestration. It’s a true, well-constructed and developed body of fruitful work, with seamless thought-out sequencing, an art that’s being kept alive by artists that rightfully value it. Motifs reappearing in her previous albums such as “all the way down”, “on the run”, “far away” make their returns, but in no way does anything feel repetitive or any less unique. The album cover art and the music videos for Washed Away and Enough for Love present us more water imagery that couldn’t have been any more suitable for the sultriness and haziness of the record. Raven is the deep melancholic ocean that you trust to wrap your body around, where you witness musical scenery that’s so breath-taking that you can barely tell if it’s real.

Favorite track: On the Run.

Let’s get some honorable mentions out of the way before the top 3: Heaven knows by PinkPantheress (literally 11th place, Feelings was on repeat for like a week straight), My 21st Century Blues by Raye (robbed by the Scammys), Unlock My World by fromis_9 (if I make a best ‘23 K-pop b-side list Prom Night has a high spot secured), seOul collection by OnlyOneOf (I ignore the old tracks included in the album and candy bOmb is the K-pop b-side of the year) and Bébe Yana’s singles this year bc even though they’re not a body of work they’re too good not to get a shout-out. 

③ Code Ge4ss - 4s4ki

As I was getting into Japanese music in March, I suddenly wondered whether there was a full-fledged hyperpop or experimental electronic music scene in Japan. After a quick Google search, an interesting artist popped up, with the metallic cybercore aesthetic I’ve been craving more of on the cover art of her latest album called Killer in Neverland. Interesting album name, intriguing song titles too, and as soon as I heard Log Out she took it in my eyes, there and then. Listening to Killer in Neverland as a whole took my shock to another level. Who was this and why did her music satisfy my cravings to this extent? As I went through her discography in a day or two, I fell deeper and deeper in love with her enchanting production (she’s her very own producer, mind you), crunchy autotuned vocals that somehow sound magical, her risk-taking unique concepts, something in between camp and outright beautiful visuals, precisely crafted songwriting and artistry. She manages to be the perfect amount of fun, the perfect amount of edgy, the perfect amount of bright, the perfect amount of sharp, the perfect amount of real, the perfect amount of satirical, the perfect amount of joyful, the perfect amount of sad on each and every project of hers. What didn’t hit me like a truck at first, however, is her tremendous improvement as a musician in pretty much every aspect: production, songwriting, album cohesion, creative direction, visuals. Not until her latest album Code Ge4ss finally got released in late June.

I was confused at first at the Code Geass anime collab thing, I wasn’t exactly sure of the release date and whether 4s4ki was actually releasing yet another scrumptious FULL album not too long after I got into her. The album dropped, I was tuned in right at midnight and my already high expectations were surpassed. Banging (kicking if you will) Jersey club beats, birds chirping accompanying glitchy trap instrumentals, screams followed by almost Machine Girl-level noisy circuit board sorcery, samples of characters’ speeches over electro guitar riffs, a piano interlude paired with opera runs taken from the show, pacifying ballads which are a mix of acoustic guitar and hard-hitting pots-pans and 8-bit synths, all closed by surreal orchestration with the classic electronica touches of 4s4ki and collaborator producer Kotonohouse. I’m sure I’d appreciate the Code Geass-themed lyricism on an even deeper level if I hadn’t paused watching the anime after 5 episodes like the terrible TV consumer I am. What I can be certain about is that everything about this project feels genuine and from within because it IS genuine and from within. 4s4ki couldn’t have been a more suitable choice for this collaboration, she’s been a fan of the franchise since elementary school and very few emit the weird cyber-glitchcore internet baby aesthetics the way she does. The cover art is stunning and references the series once again, and the Shirley MV leaves us with calming visuals that may remind you of Welcome to MY World by aespa, which spoke to the aespa x 4s4ki truther in me.

As I was saying, this album is what really rubbed her major progress as an artist and musician in my face. We’ve gone such a long way from the calmer EDM-pop antics of Your Dreamland, for example, not even to mention the synth-pop balladry in her debut Gender. Every era of hers sonically gets increasingly complex and intense and ethereal, and in every body of work she leaves in a bigger, more intimate piece of her. There’s just so much personality in everything she puts out and presents. She built her sonic and artistic identity from the bottom to the top and even as a fan for less than a year, continuing to witness this makes me feel pure admiration. Words aren’t enough to properly express how I feel about her art but that won’t stop me from typing up paragraphs to try to get someone to understand me on this. People have various opinions on 4s4ki’s experimentation and self-expression, however what absolutely nobody can ever deny is that she’s a true artist, visionary and one of the most skilled producers of this generation. 2023 brought her both achievements and unfortunately some hardships, and I sincerely hope 2024 is kinder and even more generous to her. (She’s not done with taking over the year yet! Stream her new single Continue and stay tuned for winter again coming Dec 15.)

Favorite track: Eleven.

② Fountain Baby - Amaarae

I touched upon my adoration for water imagery on my entries for BB/ANG3L and Raven but as you can see from the title, Fountain Baby took the theme to an entirely different level. The analogy potential of water is infinite as the fluidity, cadence, calmness, riptides, uncertainty, contradictions of water can very well be converted into the multi-faceted human emotion. The same water that you’re dependent on in order to live can poison you at an overload, the same water that rinses your body and soul can drown and choke you up when contacted with the wrong places. Fountain Baby expresses various moods and states of mind not only through concept visuals, but more importantly by sprinkling water euphemisms throughout the entire record: “fountain baby, wash her, make it wet”, “water on my neck, come make it warm”, “water from wine”, “water, it mix with the substance” being prominent examples. Amaarae chats love, sensuality, materialism and lastly, meeting your maker in a way other than passing away. She defines a “fountain baby” as “a person with endless charisma, someone that is abundant in their blessings and ultimately a blessed child of God.” The universe Fountain Baby resides in is essentially rich, delicate, cloudy and raw.

While water is a consistent element of the album, it was far from being Amaarae’s only source of inspiration. She draws on ‘00s pop staples Timbaland and Britney Spears, The Neptunes, Clipse (sampled in Counterfeit), Janet Jackson, Missy Elliott and diverse genres such as Afro-beats, classic and contemporary hip-hop, Americana punk rock and dance. The melting pot of live orchestra, harps, baile funk, tire whirring, R&B-infused shiny Afro-futurism, Japanese folk song samples, Chinese bow violins, Arabic scales, gunshot and cash register clicking sounds, mid-song switches that make you feel like the main character of a coming of age movie, glitter and sax and guitars creates a record that refuses to be boxed into one genre or label. A “clever alchemist” and “a chemist who fuses world music” are titles that are deservingly given to the artist for these reasons. The record has plenty of variety yet the sequence all comes together akin to a satisfying crossword. It’s lucrative and shimmery but has its child-like, playful side that’s a natural result of Amaarae getting in touch with her inner 8 year-old during the cultivation process. The music videos are all different but inseparable approaches to the Fountain Baby-verse. The MV for the first pre-release Reckless and Sweet is based on editorials and has a silky luxurious look, with direct hints at the album’s concept. Co-Star, the second pre-release, casts zodiac signs as racer-models and fast cars come running around in a competition, keeping the high fashion coded color grading and filming style. The music video for the lead single Wasted Eyes is heavily inspired by the film Rush Hour and pays homage to Japanese culture about as much as the song does (it’s worth to mention the song is co-written by the iconic Crystal Kay whose speech you can hear in it). The intricacy and planning of every aspect of this era is pop music at its peak. With Fountain Baby, Amaarae finds the epitome of pop perfection without special dedication to seeking it.

Favorite track: Wasted Eyes.

① Ambrosia (EP) - Namasenda

Some projects make your jaw drop from the get-go, some others grow on you with some time. Ambrosia crept up on me the longer I kept it on repeat, all the way to being my favorite project of this year. I already enjoyed Namasenda’s previous songs such as Black Ops 2, Demonic and the pre-release single maserati. As I later found more about the background of the project, how its concept came together and read the translation of the lyrics to rosa, my love for the it multiplied. Right now if I were to describe the EP in two simple words, they would be “ethereal”, “gorgeous” and “atmospheric”. These words are used with way more power than you may realize this time.

Sonically, the already unique artist stays true to herself but the execution of her vision is somehow… better than her previous work. north star and deathrow bby are unorthodox but celestial perspectives on baile funk, the former being a siren-like intro-lude that lures you in and the latter having a slightly haunting catchy Europop inspired jingle feel, serving as closer out of the 4 songs. maserati is a fresh take on polished but cutting pop, while rosa is a divine ballad that takes you to a dream realm. “Unconditionally here / I mean what I promise / When the sky is completely pink”, she sings in her home language Swedish, over the Casey MQ co-produced blissful synths. Maybe it’s executive producer Simon on the Moon’s musical genius (he’s also to be thanked for his involvement in Natural Brown Prom Queen by Sudan Archives), maybe it’s Namasenda unveiling a more authentic side of herself and therefore causing the music to be the most authentic version of itself. This authenticity drips through the production, the visuals and the lyrics. The stark contrast between Ambrosia and the jeweled, metallic, extreme meta-pop in her previous work, specifically Unlimited Ammo, opens up a conversation on the future of hyperpop.

Besides the heavy, detail-embroidered production, the focus of hyperpop was pretty much always exaggerating the artificial aspects of pop music, such as vocal manipulation, heavy bass, deafening drums, unforgettable melodies and shallow lyrics. How long could one use these funnily unrealistic musical personas before wanting to face themselves and do a deeper, more pure dive on pop? This I-D article on PC Music (the record label pioneering the hyperpop scene) shutting down concludes with “Perhaps it’s time to get off the computer and rediscover the personal.” Indeed, we can’t exactly reach a verdict on whether “hyperpop” will become just another fad or not, but moving on from simply exaggerating pop to expanding, beautifying and authenticating its sound isn’t an inaccurate prediction. 4s4ki and Namasenda (who, by the way, parted ways with PCMus before Ambrosia) are two of the artists that embody the beautiful, complex hyperpop-transcendent sound and experimental electronic pop music is in good hands thanks to artists like them.

To finish off this entry, Ambrosia manages to pinpoint exactly what I like to hear, both characteristics that I mentioned and things you can’t really put into sentences, only listen to and let them sink in. The production is some of the most stunning I’ve ever heard in my life, the EP is cohesive despite the short 9-minute run time, the visuals are simple but creative and the craft is passionate and genuine. Next time somebody asks me about the music I like, I’m sending them this EP with no further elaboration as it summarizes my tastes like no other body of work ever has.

Favorite track: rosa, it also grew on me the most drastically.

Now to end this post, every year gives me brand new outlooks on how I consume music and the details I notice, the things I pay attention to. 2023 was filled to the brim with musicians offering their own outlooks on how they create. I’m keeping my eye on the masterpieces that will come out of 2024 and I wonder how my interests will transform with me next year.