Quadeca is a musical artist that I found out about a couple years ago when he released his last album i didn’t mean to haunt you. That album was a conceptual shoegaze/art pop album telling the story of a ghost after it died. The album was received very well, and changed Quadeca’s reception to be more well-received as a producer and songwriter. However his reception wasn’t always great. Quadeca started as a youtube rapper, alternating between releases FIFA videos and KSI Diss tracks. He had the standard reception of a youtube rapper. A kid who didn’t really care about music, whose lyrics were flaunty and cringe.
Quadeca released his most recent album, SCRAPYARD, was released a couple weeks ago, and is my favorite project of his to date. It is the combination of songs that didn’t fit on the last album and didn’t quite fit on the next. One would say that it is a scrapyard of pieces that don’t quite work together. However, there is an underlying current of artistry that Quadeca has added to these pieces that makes them seem connected.
SCRAPYARD is equal parts indie folk, shoegaze, hyperpop, and art rap. It doesn’t sound completely like a singular genre, and that is what I like most about it. He definitely takes inspiration from artists such as Jane Remover, Brakence, Brockhampton, Paul McCartney, and Conner Oberst. Some highlights from the album include, Easier, What’s it to Him?, Way Too Many Friends, and Texas Blue.
The first track on the album, titled DUSTCUTTER, is the introduction to the blend between indie folk and electronic synthy production that is consistent throughout the album. It has a rolling synth that kind of feels like a buzzy strumming of a guitar. The pitched up vocals act as a good transition from his last album. The main thing that sticks out on this track is the production. The vocals aren’t meant to stand out. This song really gives thefeeling of sitting in a rusty junk yard with broken down cars and metal scraps, but you are able to reflect on your memories in this chaotic environment. The track ends with a howling wind, emphasizing the chaotic emptiness of the album.
The second track on the album, A LA CARTE, was a single released last year. It features the artist Brakence, a prominent hyperpop artist. To me, Brakence was a perfect feature, as Brakence has been one of Quadeca’s musical inspirations for years, and seeing them work together feels like Quadeca’s journey as an artist has come full circle. The melody is catchy, but the singing sounds “technically” bad, which kind of sounds like a Conner Oberst song. The “bad singing” adds an emotional flare to the song. The lyrics are witty and vulnerable, and the production is chaotic yet digestible. This song leans more poppy, and is definitely one of the most approachable songs off the album for new listeners.
PRETTY PRIVILEGE is the third song on the album and is one of my favorite tracks. The crunchy guitars and revving build tension to the song. To me, I think this song is about body image and body dysmorphia. The lyrics speak about not understanding why other people call them pretty, and what their life would be like if they believed those statements. Quadeca’s flow on this song is great, and the chord progression is very catchy. At the end of the song, the piano ascension makes you feel like you are free from the crunchy dissonance in the rest of the song.
EASIER is the fourth track on the album, and is also one of my favorite songs of the project. The piano and strings on this song are beautiful, and give this song an ethereal atmosphere. The simple production lets the heartfelt lyrics shine. This is a piano ballad, and is very different from a lot of other Quadeca songs. The lyrics are written really well, and don’t really feel cliche. The dripping water sound adds a lofi feel. Finally, when the beat comes in, it enunciates the lyrics and rapping, giving the song a bossa rhythm.
EVEN IF I TRIED is the fifth track on the album. Its soft vocals make the strummy and buzzy production shine. The repetition of “miss miss miss” adds to that soft whispery feeling throughout the song. This song is more aggressive than the last, yet it conveys an urgency throughout it. The tempo change is very satisfying and completely changes the tone of the song. This song says a lot with a little, and in my opinion is one of the underdogs of the album. The production of this song is, as always, amazing. Out of all of the songs on the album, this is probably in the bottom half, because even though the production is great, it lyrically is not one of Quadeca’s best.
WHAT’S IT TO HIM? is probably one of my favorite tracks on the album.This is the sixth track of the album and has a dark tone to it. The beginning of this song is very dissonant and leads well into the chorus and dynamic rapping during the verses. The melody of the chorus, singing: “I’d like to fly a little less, I’d like to cry a little more” is super catchy and almost feels like a Paul McCartney Melody. This song feels like a collaboration between The Beatles and Brockhampton. The crunchy explosion of the song opens it up. This is a must listen for me if you want to truly understand Quadeca’s artistry.
U DON’T KNOW ME LIKE THAT was also a single released last year. It is the seventh track on the album, and its pitched up vocals adds to the lonely tone of the lyrics. The piano brings a consistent lightness to the song throughout the loneliness of the lyrics. The lyrics convey a confusing relationship, when you don’t really know whether this relationship is a rebound, and whether you are actually close with the actual person, but you don’t want to be lonely. The lyrics are very witty, and the melodies have a satisfying progression. I love the flute on this track. My favorite part of this track is how the 16th note countermelody into the beat drop opens up the sound, and makes the drop feel ethereal.
I MAKE IT LOOK EFFORTLESS is the eighth song on the album. The plinky and synthy production really contrasts the deep and dark sounding vocals. The lyrics are witty and fun. This is the shortest track on the album with a length of 1:07. The lyrics are repetitive, but in that way act as the percussion on the track. This track is very unserious and fun to listen to. The synth calls repeat themselves throughout the track, and it kind of sounds like a song in a FIFA soundtrack. Out of all of the songs, this is probably one of my least favorite just because it is so short.
WAY TOO MANY FRIENDS is a great reflection on friendships and relationships. The lyrics are very clever and relatable. This is the ninth track on the album, and is one of my favorite tracks on the project. Quadeca’s flow during the song is great, and the chanty vocals echo Quadeca’s catchy lyrics. The reverb piano and percussion gives an echoey sound to the song. Quadeca reflects on the closeness of his relationships, and whether certain friendships are worth it. The combination of relatable and moving lyrics with amazing and catchy production really creates an overall good song as a whole. The flute at the end signifies the end of the song and wraps up the symphonic nature of the track.
GUESS WHO? was also a single released last year. This is the tenth track on the album, and has a distinctly different feel than many of the other tracks on the album. Its high pitch synths and glitchy production give this track a distinctly electronic and futuristic feel. The vocals are also pitched up. The production at first seems all over the place, but eventually it all falls into place. To me, this song seems like an extreme side of Quadeca’s music, leaning into the alternative electronic hip hop side, rather than the indie folk side. I love this track, and the more I listen to it, the catchier it gets.
UNDER MY SKIN, the eleventh track on the album, is more bare bones than the last track. Beginning with very subdued production and vocals, it eventually opens up with the beat drop, and then transitioning back to the closed off production with choral vocals in the background. This track has heartfelt lyrics, and I love the underlying revving of the production. It gives the track a chaotic, but controlled feel. The strings towards the middle of the song add to the ethereal nature of the song. When Quadeca starts rapping, his flow accentuates the electronic melody that kind of sounds like a fax machine. While short, this track is a great combination of Quadeca’s glitchy and folk style.
BEING YOURSELF is the twelfth track on the album. The reverb effect in the beginning makes the production seem open. The simplistic production and vocals along with the choral singing gives an ethereal feel. To me, this song sounds a lot like the track off of the last album. As the production opens up and starts to feel more physical, Quadeca’s vocals become more shouty. This is a very emotional song, and is a great transition to the more emotional last couple of tracks. The buzzy effect at the end is a great transition into the beat drop, where Quadeca’s production really shines. The driving percussion along with the choral singing fills out the emotions expressed earlier in the song. I think this track is really the sleeper deep cut of the album.
U TRIED THAT THING WHERE UR HUMAN is the thirteenth track on the album. While it has very sad lyrics, this is my least favorite track on the album. It is very apparent that this track is one of the discarded songs from the last album. In my opinion, I think that this song doesn’t fit the glitchy art pop feel of the rest of the album. It feels a little too simplistic to me, and the almost crying singing makes me feel a little uncomfy. This song does still have some great aspects to it, such as the buzzy effects throughout the song. The lyrics are written really well, and they are very heartfelt. It is just a little too sad for me to truly enjoy. I also really enjoy the processed vocals that enter in the second half of the song. I also really enjoyed the floating flute in the ending of the track.
GUIDE DOG is the fourteenth track on the album, and is one of my favorite songs of the project. It is more bare bones than the rest of the album, and it is just Quadeca singing with a guitar. I love the message of the song, and the lyrics are well written. The singing of this song seems to be very influenced by Conner Oberst. The simplicity of this song really makes it so great. This, to me, is a must listen for new listeners of Quadeca. The strings, guitar, and flute, all are great instrumental aspects of this song that differentiate it from the other more produced tracks in Quadeca’s discography.
The last, and fifteenth, track on the album is titled TEXAS BLUE. This song features Kevin Abstract, one of the creators of the rap supergroup Brockhampton. This song is one of my favorites of the album. The piano on this song kind of feels like the peanuts theme song. Kevin Abstract is one of the pioneers for modern hip hop, yet this track leans more folky like a campfire song. Quadeca’s vocals during the chorus are catchy and ethereal. The flute adds to this open and folky production. This is the perfect closing to such a disjointed but well-produced album. This is an amazing track, and I recommend you all give this one a listen.
So what do you think? Do you like Quadeca’s new album? Did this melding of genres surprise you?
Give it a listen here:
