Wallsocket - underscores: Review

underscores

is a California-based hyper-pop artist who impressed fans with her 2021 debut fishmonger. After joining Mom + Pop she released her sophomore album and debut project on the label, Wallsocket.

Review by Lav:

I like fishmonger. I heard the album at the time and thought it was solid. It turned up at a decent spot on my year-end list and spoiled little brat became somewhat of a personal anthem that stayed in my rotation for a while. That's why I had absolutely no idea what I was in for this year. I won't mince words here. underscores released one flat out incredible single after another until this quickly became one of my most anticipated projects of the year. Then she turned right around and hit a fucking home run. Not only does this project serve as a reset button for hyperpop, but it should stand as one of the best releases in the genres entire history.

Wallsocket opens with two singles which each hit at two of the things the album does incredibly well. The lyricism, storytelling, and narrative throughlines of the record are absolutely wonderful and the first taste is Cops And Robbers. The song's combination of detailed lyricism with tongue-in-cheek humor sets a flawless tone for the record and on top of that it has an insanely catchy chorus that has been stuck in my head for months. Next up is Locals (Girls like us) with Gabby Start. While the narrative here isn't exactly feeding into the overarching story of the album, it doesn't matter because this is one of the hardest hitting songs I've ever heard in my life. From the methodical layered repetition it leads off with to the perfectly sassy verses from both April and Gabby the song is relentlessly unsettled. And the chorus, jesus christ. It's hard for me to think of anything else I've ever heard that is this anthemic in both its lyrical content and its delivery and I'm honestly just in awe of the whole thing. 

The highlights don't stop there. Spoiler alert, they won't stop for a while. For something a little bit more on the reserved side look towards the second single You don't even know who I am. The track's abject horror took a few listens to really set in on me and hearing it on this record only increased the eerie fascination I have with this creepingly fascinating depiction of a stalker. I also love the lyrical details worked into Duhhh. While I'm guessing very few people know the actual details of the track the lyrics dealing with some kind of condition that is chronic but ultimately harmless, yet still affecting her deeply are all so interesting. Her pleas with god begging for subtlety then turning around asking for divine intervention are perfect lyrical flourishes. 

johnny johnny johnny might be my favorite of all the deep cuts. It's a fucking incredible song about the nature of toxic relationships between younger (mostly trans) girls and older men. The track paints with brushstrokes wide enough to really apply to all kinds of toxic relationships though. Every aching detail of the developing relationship until it reaches an explosive finale is absolutely perfect. Shoot to kill, kill your darlings is another song that's a bit more reserved though it's no less sonically playful. It's absolutely packed full of glitchy textures adding a kick to the song's already punchy drums. Around the midpoint it bursts into a glittery distortion-soaked haze that I think is great. 

So that's the first half of the album, and it's basically perfect. While I do have a little more to complain about in the second half we aren't done discussing the record's perfection quite yet. Old Money Bitch was the last single and it absolutely fucking rips. It's almost like a combination of the first and third single in that way because it also has a story that is packed full of so many hilarious details I'll leave I won't spoil it for anyone Uncanny long arms has a feature from Jane Remover, who has also been dropping some of my favorite singles of the year so far. As a result, it's exactly as angsty and noisy as you'd expect. Both artists absolutely crush their individual performances and while I think it really takes its time bringing their two portions together for what is ostensibly a duet, it gets there eventually. 

Geez louise is a seven-minute epic that I really want to break down in a 5,000-word dissertation, but I'm holding myself back. It opens with this riveting punk-flavored bust of sonic energy packed full of perfectly catchy refrains. The earworm refrains continue onto the next portion a western-sounding guitar jam that I never would have predicted but which I adore nonetheless. In the second half it has a much dreamier segment with this crackling noise laying underneath everything that never lets the song settle. And then unsurprisingly it has a slamming conclusion that is as intense and emotional of an eruption as anything on the entire album. That absolute epic of songcraft contrasts well with Good Luck Final Girl the achingly simple closing track. It ends the record off with stripped-down acoustic guitar and vocals while continuing to split the line between humor and sentimentality that defines the record. 

Even when there are songs on the record I'm not head over heels for they are normally in pursuit of something great. Seventyseven Dog Years is one of the quieter moments as well as one of the most compositionally spacious. I think the vocal performance is absolutely perfect but the songwriting and sound of the track definitely isn't on the same level as the rest of the record. horror movie soundtrack gets even quieter and while I think the story is very compelling it's the only musical moment on the entire record I would describe as kind of boring. The sparse presentation is pleasant enough but when the dramatic rush to the climax comes in the second half it does so with no real build-up whatsoever.

Wallsocket is one of the best albums of 2023 by any metric I can think of. underscores has improved upon her strong foundation in nearly every facet and the results are stunning. The songwriting and songcraft of this album is deeply effective throughout. The often unsettled compositions play with momentum smoothly to set up dramatic and impactful moments and the incredible texture of the instrumentals throughout helps them reach even higher peaks. But where underscores is really lapping her competition is lyrical. Whether it's with some of the narrative ties that connect these songs together thematically or some of the fascinatingly detailed individual stories she weaves into the project, there is always reason to be on the edge of your seat for the lyrics throughout the album. What the term "hyperpop" even means anymore musically or whether it has more to do with a generally online vibe is up for debate. But however you define the small but beloved niche genre, it should never be the same after Wallsocket. 9/10

For more hyperpop check out my review of Kim Petras' Feed The Beast