FunHouse

“The way I rationalize FL Studio, you have to think of it like a video game,” Prettifun recently told interviewer. “Every time I make music in any DAW, I think about video games.” There's a clear timbre between the hyperactive atmosphere of Nintendo's side-scrollers and the 19-year-old rapper and producer's music, which makes liberal use of synthetic sound effects that resemble evolved power-ups. But the analogy goes deeper. He explores concepts with the mindset of a hardcore completionist, trying to pack a project file with as many melodic phrases, relatable affirmations and neuron-firing textures as possible before it all explodes. Since establishing himself in Soundcloud's rap underground with beat placements on two of che's breakthrough singles (“Miley Cyrus” and “Pizza Time”) this spring, he's seized the moment with a pair of albums so densely packed with joy that they have their own their. gravitational attraction.

The first of these was released, Prettyin the summer—a largely self-produced affair that follows the acoustic template established by Pi'erre Bourne, Prettifun's clearest influence. It seamlessly transitions between beats, chiptune arpeggios that shift pitch like they're an hour deep into an acid techno set. Bouncing around on tight 808 beats, these segues flex his creativity but create notable dips in frenetic energy, slowing the pulse just a bit too much. But in watching it, FunHouseprettifun manages to maintain a steady level of frenzy by having friends like Iankon and Ginseng take the reins as producers, letting each track stand on its own as a distinct statement. The experiment yields: On FunHouseemerges as a singer and personality, writing baby-voiced raps that are so uplifting, they're transgressive, especially when compared to Opium's collaborators in adjacent lanes. Where others bend to fill space on a verse, Prettifun acts as an evangelist for the DIY ethic, calling out supporters by name on “Z&S” and using the hook of “Feel Like Uzi” to remind listeners that they can also grab a pair of headphones and start making music.

That's not to say there isn't an edge to the music. Tracks like the aforementioned “Feel Like Uzi” and “Fedswatchin” are pounded with punishing distortion that saturates their playful melodies, pulling sweetness to the surface like bruised fruit. The balance between bliss and brutality harkens back to the no-fi noise pop of early-career Wavves and Cloud Nothings, replacing fuzz-blasted lead guitar with low-res squeals. No element of the mix is ​​given particular emphasis and the resulting wall of sound is cathartic. The heavy sighs of relief he lets out as he leaves at the end of the bar are just as vital as any of his hopeful calls to action. He's comfortably ensconced in static, which allows him to explore the strange headspace of achieving internet fame, while still feeling at home with “Funko Pops on the nightstand,” whimsical mix-like string arrangements.

In “Miss U Angie”, Prettifun shows this FunHouseIts positivity is more than just an aesthetic choice. Reflecting on the loss of his grandfather and aunt in short succession, he details his struggle to move forward before coming to an existential realization that “life really is hell, but there's meaning behind it.” In a rap subgenre that tends to express emotional extremes, the track is refreshingly tender without being over the top.

Although its selection of beats is colorful and sometimes claustrophobic, Prettifun's goal is to find order in the chaos by mashing its way around self-imposed obstacles. His work behind the boards may have put him on the map earlier this year, but it's his songwriting that feels most vital in today's underground landscape. For a record released a few weeks after the artist's debut, FunHouse he is full of confidence. It emits vivid hues and personality in the face of those whose concept of “aura” is a thin shield of gloomy obscurity.