The figureheads of New York and London's electronic scene show artists can resist or embrace the mainstream.
Two of electronic music’s most prolific duos have released albums in the last few weeks; London’s Bassvictim with their fourth album in two years, titled ? and New York’s Fcukers with their debut Ö. While Fcukers is entering the mainstream and Bassvictim is actively resisting it, the two are discussed and presented as peers in the indie sleaze revival, and as inheritors of the well-established dance and electronic music scenes of their respective cities.
Bassvictim’s ? , dropped on March 6th, is the latest by the combined forces of singer-lyricist Maria Manow and producer Ike Clateman. Viewed by several critics as the leaders of the city's experimental scene, Bassvictim have been unafraid to evolve since their formation in 2022, taking unexpected risks through each album and each song. The duo’s sound has continued to develop as they lean into a heavy drone throughout the album. The violin has replaced the piano that helped characterise 2025’s Forever, the sound of which, combined with the drone, brings a distinctly new atmosphere to the music. This album is far more emotionally charged, more nuanced than their previous release, though still driven by the high intensity, near-chaos that as you listen, you crave to hear live.
This album is far more emotionally charged, more nuanced than their previous release, though still driven by the high intensity, near-chaos that as you listen, you crave to hear live.
The album’s standout track is ‘Sometimes I believe in God (Sometimes I believe in Me)’. The heavy distortion adds depth, driven by the rolling beats and Manow’s trademark breathless vocals, creating the high energy feeling indicative of their dubstep influences, a feeling similarly captured in ‘Going Home’. Amongst these dynamic tracks, the two lean into the quiet and the vulnerable, a marked departure from the pure electroclash label they were initially given. The introductory ‘Dirge’ stays true to its title, with little percussion and a dense drone while 'Babcia Jadzia' is stripped back, melodically focused and lyrically heartbreaking, showcasing the diverse and evolving talent of Bassvictim.
Across the Atlantic and out of the New York underground, Fcukers, comprised of duo Shanny Wise and Jackson Walker Lewis, are heading up the city’s dance scene. The duo weave through genres, from the sounds of jungle and reggae in ‘TTYGF’ to the trip-hop tribute of ‘Feel The Real’. ‘Lonely’ and ‘L.U.C.K.Y’ veer toward a mainstream pop sound, losing much of the attitude and self-possessed sound that defined their initial releases. However, the drum n bass inspired ‘Play Me’ one of the heavier tracks on Ö, alongside ‘if you wanna party, come over to my house’ are some of their strongest tracks yet. Wise’s smooth, detached vocals are featured more centrally, with the pulsing synth and driving beats lending them a noticeably more DIY feeling than most of the album.
Ö is distinctly more polished than their 2024 breakout EP, Baggy$$. Wise and Walker Lewis created the album in two weeks, a challenge presented to them by producer Kenneth Blume serving as the duo’s mainstream introduction; addictive, filled with masterfully crafted hooks and breakdowns. This complements the playful and unbothered charm of earlier tracks such as ‘Tommy’ and ‘Homie Don’t Shake’.
Ö is distinctly more polished than their 2024 breakout EP, Baggy$$. Wise and Walker Lewis created the album in two weeks, a challenge presented to them by producer Kenneth Blume serving as the duo’s mainstream introduction; addictive, filled with masterfully crafted hooks and breakdowns.
Bassvictim’s ? contrasts the digital essence of UK electronic music with unexpected, raw sincerity, both lyrically and instrumentally, while Fcukers offers a nostalgic, laidback debut, rooted in old school US house music, yet remaining rebellious in its genre-playful nature. Bassvictim has, from the beginning, displayed a punk sensibility; both in their music and their public image (getting banned from Berghain is a particular highlight- whether they'll pull similar antics at Forbidden Fruit remains to be seen), as they continue to resist the path of mainstream success. Fcukers, in true American fashion, are commercialising as fast and as much as they can. Their music remains enjoyable, and their Button Factory gig on May 19th will almost certainly be a summer highlight. Fcukers are not trying to revolutionise dance music, as Bassvictim is inadvertently doing; Ö is an ode to the dancefloor and all that comes with it, while ? is a reconstruction of it. Both duos are still relatively new to the scene, and these albums prove that this is only the beginning.
Bassvictim has, from the beginning, displayed a punk sensibility; both in their music and their public image (getting banned from Berghain is a particular highlight- whether they'll pull similar antics at Forbidden Fruit remains to be seen), as they continue to resist the path of mainstream success.