#meth math

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.