Underscores’ last studio album “Wallsocket” leaned in a folk, indietronica direction, with heavy worldbuilding elements and a lot of social commentary. This time, underscores combined her hyper-pop sound from the first album “Fishmonger” with a new energetic and electropop one, making her latest album “U” a “good thesis statement of who I am as an artist”, as stated by Grey in an interview with Vogue.

In that same interview, the musician also talked about her longtime fascination with hotels, airports, and malls from her childhood, especially the way people listen to music while moving through those spaces. This heavily inspired the album and you can certainly notice: from the mall in the cover art to the visuals where she hauls around luggage while dancing with her headphones in. It’s a short, cohesive, and focused record that offers some of the best pop songs this year.

“U” starts off strong with “Tell Me (U Want It),” a beautiful song where underscores first showcases the usage of her breath as an instrument. From the breathy and rhythmic intro we move to soft verses and an exciting chorus. One of the most interesting parts of the song is the outro where she adopts these harsh, robotic whispers as the song fizzles out. It’s an instant classic in her discography and it flows well into the following track “Music,” which had everyone obsessed when it dropped as a single. It was my first underscores song, and I was totally blown away. This beautiful track compares the company of a special someone to the feeling of listening to/making music, incorporating mesmerizing beats and harmonies. The song feels like underscores’ love letter to music and her passion for it really shines through, especially with the breakdown in the bridge where she mentions multiple genres of music that are meaningful to her.

We then move into the first new song for me (since I already knew the singles) called “Hollywood Forever.” The brilliance in this one comes from the switch ups, which make it feel like three songs in one. Following that we have “The Peace,” a song different from everything I’ve heard from the musician. Vocal inflections are chopped up in the beginning and she uses her breath as percussion for the second time. This is actually maintained throughout the whole track, making for a consistent, electronic-heavy song that offers a nice break from the previous three explosive ones.

Next is my personal song of the year (and no, I don’t care that it’s too early to call): “Innuendo (I Get U).” She does get me! Demonstrated by her inclusion of everything I think sounds cool in a song: quick switch ups, intense kicks, well-placed talk singing, a powerful beat drop, and playful lyrics. Underscores uses her whispers and soft register once more, combining them with loud, layered vocals, proving her versatility. 

“Lovefield” is another one of my favorites. Spacious and atmospheric, the track starts off soft and laid back, eventually dissolving into a gorgeous display of underscores’ vocal range as she belts the chorus one last time. “Do It” is a wonderfully produced, quintessential underscores track released as one of the three singles. It’s upbeat and fun, and probably the first song I’d recommend to someone wanting to get into her music. Though there was also a remix of the track featuring Yves before the album dropped, I like this version better (but by a close margin).

“Bodyfeeling” is my least favorite on the record, but still a very good song that became quite popular with the fanbase. This one is more interesting lyrically, with touching verses about ignoring your body and your reality in favor of existing in a fantasy with the person you love. However, the chorus beat felt a little clunky.

The final track “Wish U Well” follows a similar pattern to “Lovefield” in the sense that it’s also laid back, albeit without an explosive bridge or chorus. Again, the lyrics hit me pretty hard and it made for such an emotional and dreamy song that easily slipped into my top 3 (alongside “Innuendo (I Get U)” and “Do It”). Overall, this underscores project is a progressive, hyper-pop, and electronica masterpiece that everyone should check out. Just put on some headphones, find a good mall to wander around in, and lose yourself in the glitchy, maximalist world of “U.”

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“Don’t be Dumb” is heavily story driven, detailing different versions of Rocky throughout the last few years with his six main characters, represented on the album cover designed by Tim Burton. Burton was a massive inspiration for the rapper, and had a strong hand over the visual direction of the project. Rocky’s alter egos each offer insight into a moment of his life. Chronologically, the first character is Shithead, which actually explores Rocky’s experiences with his friends as a young adult in Harlem, New York circa 2013. The next persona is Dummie, the one representing the stylistic choices from “Testing” and Rocky’s willingness to explore his creativity. We then get into Babushka Boi, the character that embodies his love for fashion design and self expression, referencing his usage of the babushka scarf at the LACMA Art and Film Gala in late 2018. He also shortly released a song and music video with this aesthetic, both which previewed the sonic identity “Don’t be Dumb” would take on.

The next character is Rugahand, whose design takes direct inspiration from Rocky’s performance at the Rolling Loud Miami in 2023, during which the rapper sang a few songs that teased his new musical direction. Mr. Mayers is the father persona, representing a focus on raising his family above all else. The last and perhaps most crucial character to this era is Gr1m, who appears to be the main character considering how many times he is depicted in music videos. He is important because his name is a direct link to Rocky’s ghetto futurism and German expressionism ideals, both of which heavily inspire the album. With the former, the concept is blending retro styles with futuristic ones through the lens of ghetto. German expressionism associates itself with the album because of Rocky’s deep appreciation for the aesthetic, which is the reason why he reached out to Tim Burton in the first place.

All these characters and aesthetics like European fashion, ghetto futurism and German expressionism come together to create the story that is “Don’t be Dumb”. In the opening track “ORDER OF PROTECTION”, Rocky explains his absence from the music scene and what he’s been up to since “Testing”. It’s a decent opener, but it’s a little tame and boring. The sound and energy immediately pick up with the following track “HELICOPTER.” It’s a fast paced, hype trap song that excites the audience for the album going forward. After a quick skit about his creative vision, heavy synths lead us into “STOLE YA FLOW”, a subtle diss-track about Drake. The instrumental is dense and nasty, but that doesn’t take away from the enjoyment.

“STAY HERE 4 LIFE” is a smooth, lighter track about being in love. The following “PLAYA” is also more laid back production-wise. It has a similar sound to Kendrick Lamar’s “Silent Hill”, which could be attributed to producer Thundercat being featured on both albums. “NO TRESPASSING” has some interesting ad-libs and sound effects, while “STOP SNITCHING” features some of Rocky’s most solid rapping flows on the album. The project gets noticeably more experimental as it goes on, with the second half taking many creative liberties.

“STFU” is a snarky clap-back at his haters and nosey fans over a grimy, aggressive beat. The single “PUNK ROCKY” is inspired by indie rock and it sounds very nice. “AIR FORCE (BLACK DEMARCO)” has really cool electronic synths and a fast-paced instrumental alongside a sharp and focused flow. It contains an unexpected, ethereal beat change about a minute in to give the track some breathing room. Then, it’s right back to the chaos. “WHISKEY (RELEASE ME)” features Gorillaz and Westside Gunn, and introduces jazz rap into the album’s sonic identity and continues to be explored in the following track, “ROBBERY,” which is my personal favorite. This surprising song has a soundscape reminiscent of a 1920s dive bar, where Rocky and Doechii conduct a theatrical robbery while rapping almost seductively over piano and horns. Jazz rap is at its finest here, and Doechii was an immaculate choice for a feature. 

“DON’T BE DUMB / TRIP BABY” is an interesting two-parter that unfortunately falls a little flat on the second half. The first disc concludes with a will.i.am and Jessica Pratt featuring on “THE END,” a somewhat weak, pessimistic closer with a flaccid instrumental. There are four bonus tracks on side two. Overall, the album is a very enjoyable listen and while not his best work, it’s a worthy addition to ASAP Rocky’s discography. 

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Regarded as one of the most influential artists in the contemporary music scene, Björk has an extensive and mesmerizing discography ranging from jazz and experimental to electronic and avant-garde music. She is a major pioneer in her genre-bending productions, and inspired others such as Radiohead, Frank Ocean and Lady Gaga. 

The live album’s opening track “Family Intro” starts us off with bird noises, bubbles, and nature ambience. It’s a shortened version of the original, which used to be heavier and more intense with the soundscape. This new, cut version she performed live seemed lighter, as she highlighted the importance of love throughout the process of healing. It beautifully transitions into “The Gate”, which has interesting synths and flutes chiming in every few lines. This recording of her voice live sounds identical to the studio album, a testament to her wonderful voice. Björk sings about her healing journey after a terrible breakup and how her open wounds transformed into a gate where she now receives love from. It became a place where the “light shines in”.

The next tracks “Utopia” and “Arisen My Senses” demonstrate the common theme of blending nature and technology that is seen throughout her discography, and it’s truly hypnotizing how she represents that with the sounds. They’re lighthearted and spacious but not too interesting. The following “Ovule” is boring when compared to how grandiose her songs often are. The melodies and beats stay roughly the same throughout and it doesn’t have a chorus to break up the verses. “Show Me Forgiveness” is similarly bleak and unimpressive, although her vocals are pretty. Both songs are performed almost identically to their original counterparts. 

“Isobel” is a gorgeous song that maintains a steady, marching beat and displays very evocative imagery. The next track “Blissing me” is a gentle ballad about falling in love with someone by sharing music. Interestingly, the melodies reminded me of the “Minecraft Volume Alpha” soundtrack by C418, being very similar to songs like “Door” and “Wet Hands”. The live version really did it justice. We segue into the “Arpeggio” interlude, where Björk delivers the “It’s an emergency” manifesto, urging us to pay attention to the environment in order to survive as a species. After the inspiring call to action, we move into the grandiose “Body Memory”, which is very vibrant in a live setting. The background vocals are very powerful as we transition beautifully into the second half of the album. 

“Hidden Place”, “Mouth’s Cradle” and “Victimhood” are pretty tracks, but they start to blend together a little, the last one being especially monotonous. The “Cornucopia” live album is fascinating, but from these tracks onward I start feeling the album length a little. It feels too long, and even though the songs are different enough from each other to keep things interesting, I got bored with the last few. “Fossora / Atopos” has a loud and chaotic banging that accompanies the second half, but is overall quite uninteresting, which I can also say about “Features Creatures” and “Courtship”. Their dullness is especially highlighted when contrasted with the beautiful “Pagan Poetry” that comes right after them.

A classic in Björk’s discography, “Pagan Poetry” reflects on the confusion and difficulty of emotional and physical connection with a partner. It’s a shortened version of the original, starting from the repeated line of “I love him” in the outro. The following “Losss” has a stellar electronic soundscape that leads to a tumultuous outro. “Sue Me” is plain boring (sorry) and so is “Tabula Rasa”, although the latter’s title did grab my attention, as I recognized John Locke’s philosophy. The Tabula Rasa refers to the idea that all humans are born with a clean slate and no innate knowledge about the world: we must build that knowledge from scratch. Björk uses this theory to address the new generation and tells us to rebuild the world our way, considering how the previous generations left it to us in such a rough shape. 

“Notget” is a powerful track about a break up, where the drumbeats symbolize the singer’s heartbreaks. And the final song on the album, “Future Forever”, is a hopeful perspective on the future. We hear a choir of child-like voices singing about brighter days ahead, which ends the live album on a high note and an optimistic view of the world and what’s to come. All of these tracks come together to create a performance highlighting environmentalism, female empowerment, hope for the future and humanity, solidarity and the collaboration of nature and technology. Even though Björk can be a challenging artist to get into, “Cornucopia Live Album” is an exceptional project and a must listen for fans of avant-garde music and powerful symbolism.

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Altar primarily serves as a tribute to NewDad’s Ireland hometown, Galway, with its gloomy weather and quiet lifestyle. After the 2024 release of their debut studio album Madra resulting in their quick rise to popularity, the band promptly relocated to London to pursue music as a full time gig. NewDad saw an opportunity and knew they had to seize it. In hindsight, the band now regrets this sudden and drastic change in scenery, stating in an interview with NME how they would have enjoyed staying home and focusing on enriching their local rock scene. Altar is a simultaneous homage to Ireland and an expression of homesickness and nostalgia, all over the span of 12 tracks. 

NewDad’s Madra took alternative rock by storm with its explosive sound and unapologetic lyrics. The band was influenced by artists like The Pixies, The Cranberries, and Oasis, which shaped lead singer and rhythm guitarist Julie Dawson’s childhood. Altar is showing a departure from the heavier punk inspiration, instead borrowing elements from shoegaze and dream-pop, with most of the tracks more reminiscent powerful ballads seeping with raw emotion. It’s an interesting direction for the band to take their sound in, and it also bodes well with the themes of melancholy and reflection. 

From the very first track “Other Side”, the lyrics already express these deep emotions that permeate the album, as Julie Dawson sings about a noisy place that is killing her dreams and not letting her go. Accompanying Dawson’s soft melodies are simple synths, reminiscent of a lullaby, that build up to a thrilling beat drop with lead guitarist Sean O’Dowd and drummer Fiachra Parslow joining in. The song masterfully sets the tone for the rest of the record. “Heavyweight” maintains a steadier tempo while Dawson scornfully croons about the music industry, which drove the band away from home and thrust them into that harsh reality very early into their career, dripping with cynicism. 

The next track “Pretty” is a dreamy and melodic serenade that really hones in on Galway as the band’s muse: “His medicine has me hypnotized. You look so nice like a dream, swear on my life”. In the following track “Roobosh”, perhaps the most electric song on the album, Dawson’s booming vocal performance during the chorus is perfectly accompanied by her and O’Dowd’s hypnotizing guitar riffs. Parslow’s drumming is also on point, which, along with the other elements, emphasize the track’s vindictive and vitriolic energy. 

“Misery” offers a darker, meaner atmosphere with distorted, grungy guitars and a loaded instrumental. Dawson’s vocals demonstrate pure, raw emotion from someone who is deeply familiar with misery and the nasty way she makes her way into our lives. “Sinking King of Feeling” and “Puzzle” are both tracks that expand on the homesickness of the album, exploring somber feelings of misplacement, unworthiness, and inadequacy. The ballads, with soft, luscious sounds offer evocative imagery and highlight the melancholy that permeates the record. Sounds start to blend together and perhaps the band tried to become a little too cohesive. However, the instrumentation is consistently easy on the ears, despite the air of monotony. 

“Entertainer” is reminiscent of “Sickly Sweet” from the band’s debut album with the guitar riffs. The beat and instrumentation, as well as Dawson’s wildly entertaining vocals illustrate NewDad’s signature sound. “Everything I Wanted” perfectly encapsulates the album’s main thesis of homesickness. After their experience abroad, NewDad realized they had fallen into the trap of jumping ship too early and yearned for their hometown, which they now know could have harbored their dream. The layered soundscape cushions Dawson’s vocals as she introspectively warbles: “I tell myself that it’s everything I wanted/ Lost myself in this city”. The following two tracks “Mr Cold Embrace” and “Vertigo” are also about Galway which, to the band, evokes nostalgia and regret, with airy guitars and hauntingly beautiful vocals. The album ends on a somber note with “Something’s Broken”, as Dawson sings of feeling terrible sadness and fear and looking for intimacy as a way to cope and forget it all. 

Overall, Altar is a beautifully cohesive journey through Galway, the band’s bittersweet relationship with fame, the harshness of the music industry and everything in between. It’s a wonderful album to enjoy as the seasons transition from summer into autumn, with delicate guitars and catchy melodies that solidify the band as one of the best current alternative rock artists. Now, with their new tour around Europe and their freshly announced festival appearance at Primavera Sound ‘26, I’m excited to see what’s next for NewDad. 

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