(Mom+Pop)
Performing, writing and producing everything herself, April Grey pares back her hyperpop electronics for an LP in thrall to 90s pop-R&B, with songs that big stars would die for
April Grey is a US bedroom producer beloved of an impressive range of other artists – experimental pop duo 100 Gecs are fans, so is rapper Danny Brown and Blink-182 drummer Travis Barker – but thus far it’s been hard to accurately pin her down. It’s a challenge to sum up the sound of the first album she recorded under the name Underscores, 2021’s Fishmonger, or its follow-up, a concept album based around three young female inhabitants of a mythical Michigan town called Wallsocket: there really was an awful lot going on on both of them. But if you were forced to come up with a shorthand description, you might plump for hyperpop meets emo pop-punk, a sonic cocktail that, as you might imagine, occasionally proved a bit too flavoursome for its own good.
There was no getting around the heavily-caffeinated pop thrills provoked by her best work, but while Wallsocket was bombarding you with distorted guitars, stammering vocal samples, dive-bombing brostep basslines, honking rave electronics, nu-metal riffs, heaving shoegaze textures, gunshot sound effects, vintage video-game bleeps, drums that split the difference between dancefloor pulse and the double-time thunder of hardcore punk, and vocals alternately delivered in a bratty drawl or a full-throated, heavily distorted scream, there were definitely moments when you wished Grey might consider the wisdom of the old adage about less sometimes being more.
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