The music landscape shifted dramatically in the early 2010s, a period marked by the rise of streaming and a blurring of genre lines. Artists like Grimes, Carly Rae Jepsen, and Charli XCX, once comfortably situated within indie circles, found themselves increasingly embraced by mainstream audiences. This “monogenre” – a term coined by Stereogum’s Chris DeVille to describe the collapse of traditional critical hierarchies – saw independent artists snapped up by major labels and reshaped into pop stars. While some navigated this transition with sustained success, others experienced a more turbulent trajectory. Now, with her third album, U, underscores – the project of 25-year-old Filipina American artist April Harper Grey – seems to be deliberately aiming for that same ambitious, world-ruling scale, but with a distinctly different approach.
Grey isn’t easing into pop; she’s reverse-engineering it. U feels like a meticulous study of pleasure, a calculated attempt to optimize the very formula of a hit song. Accept “Tell Me (U Want It),” the album’s opening track. It’s built in 12/8 time, a rhythmic choice Grey seemingly considers essential for pop perfection, and punctuated by a sample reminiscent of Depeche Mode’s “Personal Jesus.” The song builds with a delayed brostep drop, maximizing tension before releasing into a hook that arrives precisely when it’s most effective. The track doesn’t simply end; it dissolves into a stuttering, pixelated coda, a sonic representation of a system reboot. It’s a controlled descent, akin to a ride in a self-driving car, and on U, Grey demonstrably closes the gap between experimental ambition and polished pop execution.
From Bedroom Production to Electropop Vanguard
Grey’s previous album, Wallsocket (2023), established her as a force to be reckoned with. Described as sounding “like it was blasting out of Grey’s MacBook speakers,” the album showcased a raw, DIY aesthetic that allowed her to inhabit a multitude of personas – a Shangri-Las ingenue, a pop-punk rebel, even a post-ironic Edie Brickell. This versatility brought her into conversation with a cohort of rising electropop artists like umru and Jane Remover, and led to a collaboration with Oklou on the track “harvest sky” from Oklou’s critically acclaimed album, choke enough. U, however, feels like a deliberate refinement of that energy, as if a seasoned producer – though Grey produced and wrote the album entirely on her own – stepped in to harness her eclectic tastes and shape them into a cohesive, singular vision.
Deconstructing Pop’s Building Blocks
The influence of K-pop group BIGBANG is readily apparent on tracks like “Do It,” which also draws inspiration from Britney Spears and Basement Jaxx. Grey doesn’t simply borrow from these sources; she dissects them, incorporating bespoke choreography alongside the sonic references. “Innuendo (I Get U)” is a masterclass in controlled chaos, blending gun-cock samples with squiggles of synth bass, punctuated by Grey’s provocative lyrics: “I bet you’d fuck anything with a heartbeat!” The line, delivered with the energy of a young Justin Timberlake or Justin Bieber navigating a first heartbreak, is both shocking and undeniably catchy.
Grey’s production choices are equally striking. Most songs on U adhere to a standard verse-chorus structure, but rarely remain there for long. “Innuendo” and “Lovefield” veer into trance territory, while the lead single, “Music,” accompanied by a music video that cleverly references early 2000s iPod commercials, culminates in a chiptune breakdown reminiscent of Skrillex’s Scary Monsters and Nice Sprites. Even “Hollywood Forever” undergoes a transformation, flipping into a nightcore remix during its drop. This willingness to experiment, to constantly subvert expectations, is a defining characteristic of the album.
Crafting a Sonic Identity
Grey’s dedication to sonic detail is evident throughout U. She crafted custom synth patches to evoke specific emotional responses, a process that allowed her to tap into a precise palette of feelings. “Wish U Well,” in particular, showcases this meticulous approach, a self-described attempt to recreate Janet Jackson’s “Someone to Call My Lover” from scratch. This isn’t imitation, but a deep understanding of the song’s underlying architecture, a testament to Grey’s technical skill and artistic vision.
The album’s ambition isn’t without its risks. Grey’s willingness to embrace maximalism, to cram as many ideas as possible into each track, could easily have resulted in a cluttered, incoherent mess. Instead, U feels remarkably cohesive, a testament to her ability to control and channel her creative impulses. It’s a bold statement, a declaration that pop music can be both intellectually stimulating and viscerally satisfying.
As underscores continues to push the boundaries of pop music, her next steps will be closely watched. Grey is currently on tour supporting 100 gecs, with dates scheduled through November 2024, according to her official website. Tour dates and ticket information are available on her website. The success of U suggests that Grey is poised to become a major force in the music industry, and her continued experimentation will undoubtedly shape the sound of pop for years to arrive.
What are your thoughts on underscores’ modern album? Share your opinions in the comments below and let us know what tracks are resonating with you.
