An Edgy Alternative-Pop and Darkwave Release from Death Popsicle
An edgy new EP release from Death Popsicle brings together some of the best elements of electronic, cinematic, industrial, pop, and more, by wielding it all into a semi-rambunctious but vastly undertoned set of songs that come through with a hell of a punch and an alternative backbone.
The Komuso EP is a record that is built with fewer boundaries than whatever you may be used to. I mean it in the best way possible because this thing bends those genres freely and, in doing so, it creates robust atmospheres and hints of dark overtones that have layers and depth.
One of my favorite aspects about this record is the actual beats. The synthesizers are amazing, and that's probably the key element in terms of bringing on the flavor that it has, but the beats are outstanding because they also blend different genres in there. You can hear everything from electro-pop to hip-hop.
This Record doesn't waste a lot of time getting straight to the point with its first song, "Animal", which comes right in with a fat and juicy beat along with these sort of mellow synthesizers and keys that give a forward-moving flow to the song.
The vocals come in with a boisterous approach. They start in a lower register, but later on you hear higher-pitched harmonies coming in and out.
You can tell there was a lot of thought that went into the arrangement of songs like this one. There's attention to the little details from the mix to the aesthetic.
The vocals are sort of emotional. I really dig this aspect because it puts a layer of authenticity into the music.
This is also a great track to introduce the record with because you're getting some of the great staples the rest of the EP boasts.
Having said that though, I must also mention that listening to this EP from start to finish, in one shot, is an absolute must-do.
There are more than a few surprises around its corners, and this is a set of songs that definitely showcase some amazing sound sculpting.
As I mentioned earlier, it's a bit outside the box and experimental, and all the best ways.
It doesn't just suck itself into one genre. It branches out and does its own thing.
These songs have moods to them, and a lot of that also pushes that emotional backbone even further.
"Dear Friends" is the second track on the release, and this one definitely, to me, feels a little bit more industrially involved.
This also comes mainly from the beat being decimated or distorted, hitting really hard and heavy, and it's reminiscent of classic industrial tracks.
The track is probably one of my favorite ones in terms of the vocals, mainly because he's doing the octaves of the low and high melodies a lot of the time.
It's cool that he hits both registers perfectly, and again, this adds a different kind of texture to those vocals, which, in turn, builds out the song in a different manner.
As the track unfolds, it gets a bit more intense, and once more, that arrangement really works.
"Ugly" follows suit in terms of the vocal approach, but this one has a deeper realm of sound to it. It's got a very thick spaciousness in its underbelly, and it reads a cinematic feel at times.
That expansive or even ambient style texture sounds really cool with the rest of the track. It lets you pay attention to the lyrics more, and sort of sucks you into the track itself.
By this point in the record, you are swallowed up by it. It's very easy to get engulfed by the soundscapes on this release.
In many ways it's also kind of an escape. It pulls you away from whatever you are and whatever you're doing, and puts you in this whole other headspace for a chunk of time, which I found to be quite a gift.
"Own" Works magic in terms of how the vocals bounce off of each other and have these sort of callback styles. This one feels kind of theatrical to me. They all have the filmic essence, but this one has a theatrical approach and a somewhat dramatic tone.
A lot of those deeper-tone vocals just have a natural drama to them.
Sometimes, they also make me think of genres like post-punk.
As the record unfolds even more, you're able to hear a slew of influences that are held close to the heart and obviously all heavily helped inspire this creation to come to fruition in the first place.
Ends with the track called "Vulnerable", which sort of keeps that approach in terms of the dramatic essence, but this track has a way of blending a lot of the record into one song.
The synth work throughout this release is almost blissful, to me. None of it's really over the top until it wants to be.
There's an amazing dynamic balance that creates that natural and forward-moving flow throughout the entire record, and the almost brooding, dark overtones have a great way of grabbing hold of you and keeping you right where they want to.
We wanted to have a chat with the project's creator, Devon Aviles to find out where this actually came from and what might be coming up next.
So, while you dig into this deepening piece of work, have a read-through of our interview with Death Popsicle below.
Hey and thanks for taking some time out for us! Let's start with Komusō.
I am but one man, but you're welcome. And thank you as well for the opportunity.
Where did this record come from and what is it about?
The record came from a lot of experimentation. I started messing around with phonk-inspired instrumentation and hip-hop/pop rhythms and eventually stumbled onto a sound that felt like my own. Around the same time, I found myself naturally singing in a lower register, so I leaned into it instead of fighting it.
Each song explores a different aspect of the human experience. Animal is about humanity's destructive path and our tendency to place ourselves above every other living thing. I don't believe we're greater than anything else on this planet, and I try to express that in a somewhat indirect, sarcastic way.
Ugly is about never feeling like you belong. Dear Friends follows someone who reaches out for help but isn't truly seen until it's too late. Own is about the death of the American Dream and how younger generations increasingly feel trapped by a system that keeps moving the goalposts. Vulnerable is the emotional aftermath—the self-doubt, loneliness, and feeling of being unwanted.
Historically, a komusō was a "priest of nothingness." That idea resonated with me. I've carried these emotions for most of my life, and this record reflects what it feels like to move through the world as someone who has spent a long time trying to find where they belong, which for me isn't really anywhere.
I am hearing several approaches here! Who are some of your biggest musical influences?
For Death Popsicle, some of my biggest influences are Depeche Mode, Type O Negative, Nine Inch Nails, Crosses, and drift phonk. I also looked to a lot of '90s music for songwriting and arrangement. That could mean anything from Nas to Britney Spears or the Backstreet Boys. The music itself doesn't sound like those artists, but I think great songwriting can come from anywhere and everywhere, simultaneously or separately. For example i studied Max Martins song writint approach and structure, breaking everything down and piecing it together in my own way.I try to absorb influences from every direction and turn them into something that feels genuine.
How did this all start for you as an artist?
I've been making music for as long as I can remember. This project feels like the clearest representation of who I am creatively at the moment. It's not a character or a trend—it's just me. I will never ever stop creating, i will write music on my death bed.
Did you guys work with an outside producer on this one, or was it all you?
Everything was done by me—from the writing and performances to the production, engineering, mixing, sound design, and mastering. That said, I'd love to collaborate with other artists and producers in the future. Working with other creative people forces you outside your own perspective, and I think that's healthy.
Also, what are you performing on this?
Everything. I performed all of the vocals, programmed or played the synths, handled the production, recording, engineering, mixing, and mastering. It's a completely solo record.
Did you record at a bigger studio, or a home DAW setup?
Everything was recorded in Ableton from home. Funny enough, "home" was mostly a fifth-wheel RV while I was traveling. A lot of the record was tracked in the Arizona desert north of Phoenix, some around Flagstaff, and a little in Wisconsin. I later mixed it after moving into my current house. Having a few quality microphones and preamps made a much bigger difference than having an expensive studio.
Are you performing live right now?
Not at the moment. I've done it before, and I'd absolutely do it again if enough people wanted to see it. Right now my focus is on building Death Popsicle into something people connect with.
Now that this is out, what's next for you?
I want to keep building the Death Popsicle world and ecosystem. That means shirts, cassette tapes, other physical releases, videos, and continuing to write music. Eventually I'd like to bring it to the stage as well.
What would you say people can expect from this release?
I don't really like telling people what they should expect. I'd rather they go in with an open mind. I wanted to make something that feels familiar enough to connect with people while still sounding like its own thing. It's modern, but it's also rooted in a lot of older influences.
Before we go, what would you like to express to fans of the music?
Thank you for taking the time to listen. There are more ways than ever to consume music, so if someone chooses to spend their time with something I created, i appreciate it.
Don't be afraid to be different. It is a tougher road to walk but more fulfilling. There are already countless artists trying to be the next version of someone else. Be yourself, create what feels honest to you, and support people who are willing to take creative risks.
And if you're an artist looking for a producer or someone to collaborate with, feel free to reach out.
Komuso - EP by Death Popsicle | Spotify
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