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PASSENGERPRINCESS

passengerprincess

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There’s a good chance that if you’re a furry, you’ve heard the track “4k Carpet.”

The blowout single from passengerprincess certainly made a hot entrance for the duo’s new project, (Those with keen ears may be familiar with lizzy’s personal army). Boosted further by its virality and iconographic branding, this self-titled debut positioned the artists for a highly anticipated release. The end result, however, is an overrefined mix of hyperpop diluted by the algorithm, in which the hits betray the B-sides for a solid pop album that suffers from its marketability ambitions.

The opening track, “VENEMOUS,” shows a grittier side to passengerprincess. With a beat like a nasty purr, the album comes in with a soft dosage of cunt severity. The duo’s lyrical wit builds a cutting portrait of a beggar and a tease. A sleazy opulence pulses through in a heady chorus. Though undercut by a decent repeat and an awkward final break, the track sets a good pace for the first half of the album.

The following, “PREY,” builds on the toxic desire of its predecessor by turning to a love that’s more consumptive. Its spatial production leans into the horror for a track that would make a great Halloween playlist addition. Noxious and crushed, punctured by a metallic aftertaste, “PREY,” blends the hyper into the pop for a voracious banger.

I can tell I’m prey

by the look in your eyes

if I look away you’ll just eat me alive

oh my heart is racing and something’s not right

but that’s what I like, like, like

It’s with the duo’s second single, “TUMMY,” that the trajectory veers. The track is hyperpop at its most saccharine. Stilted keyboards and aimless lyrics make for an empty listen that plays far longer than what it has to offer. Especially for either of its post chorus breaks, which fall severely flat for the buildup they are given. Too artificial for its own good, the track is a bellyache that distends the propulsion of its sequencing.

“4K CARPET” sounds like the kind of song that would be a TikTok trend. Its lab grown construction is so desperate for an algorithm that anything to be experienced can be found in its first 18 seconds. It keeps a breathless pace built on obnoxious piano and rushed vocals over cranked by autotune. The clever lyrical design of its verses are drowned out by the pursuit of a hook. Of the 239 words in this song, 52% are “God I wish I could afford that.” It’s a malnutritious pop song that’s over before it even began.

you spent 4k on a suit

custom tailor, made just for you

it’s not formal but it is cute

no tie, just a tail and a snoot

“CREDIT CARD” is what “4K CARPET” wanted to be. A club song for the financially insecure, it’s bolstered by a swanky keyboard and a chorus beat that layers nicely. The track gives itself some space, which helps it ride into a softer back half sequencing. “DANCE ALL NIGHT” continues the trend in a quiet song that thrives in its intimacy. The melodic R&B track holds close in its verses and palpitates in its chorus. It’s short and simple, which makes it a great transitory addition open to repeat listens.

If the front half portrayed desire at its most envious, there is a tenderness to the back half of the album. The twinkling open of “PUPPY 4EVER” carries this warmth further in a song as cuddly as a lapdog. It’s the most successful use of hyperpop as a genre for the album, with its effects adding a real identity to the track. Carried by a rhythm like a heartbeat and lyrics that breathe affectionately, “PUPPY 4EVER,” marks its territory on “PASSENGERPRINCESS.”

I feel safe and loved when I’m around you

I hope I make you feel like a little puppy dog too

“FINALE,” makes for a cute ending. It’s buzzy production and airy singing keeps a melodic balance. Though it’s the longest track on the album, it earns its runtime and makes for a gentle cap.

“PASSENGERPRINCESS,” feels trapped by the belief it is a definitive project on its debut. There’s a solid enough blend between its grittier electronic tracks and its later hyperpop melodies. But its overproduced singles regrettably buffed out all personality. The project lands at an interesting period for hyperpop, a genre clinging to an aesthetic that stopped evolving years ago. It’s all at a crossroads now, either play the hits or try something new. As for passengerprincess, the choice is the same.

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