If there are 2 things I say repeatedly to the extent that I get tuned out by those around me, its that:

• I absolutely adore when my release radar feeds me crazy shit from people with like 2 songs (because I can watch them grow from there)
• The ripple effect Hyperpop has had on sound design in other genres is single handedly the most important part of the genre’s legacy

If you’re not a music producer or chronically into niche internet genres, that second point may make zero sense to you, so let me elaborate a bit.

rot was the first single released by experimental pop artist and person with a Spotify playlist called “aquarium rocks”, gottsy. And despite her small following on social media and 20,000 monthly listeners at the time of writing, it has, by sheer algorithm witchcraft, accumulated 190,000 streams on Spotify. This is absolutely not without reason, as after first hearing it I proceeded to loop it during my commute the next 2 days, ruining my vocal chords poorly singing along. rot is, from a writing perspective, a wonderfully vivid and unique approach to a toxic relationship song, but to call it just that would be an absolute disservice to the soundscapes at play. This song is full of thick synth chords, bouncy bass lines and metallic/abrasive leads. That last part is what I was referencing in the intro, as love them or hate them, that’s a sound that was brought to the spotlight on unparalleled levels by 100 Gecs of all people. With that said, I would not dare compare this song to something like Money Machine (god I’m sorry I hate that song), I merely mention it because this evolution to popular sound design is a mild obsession of mine, and the more of it I can get the better.

I would love to write an ungodly amount about rot, because I genuinely believe it’s hands down one of the best songs of 2025, but the algorithm has already blessed this song. The unfortunate thing about Spotify’s algorithms and editorials is that just because it boosts one song absolutely does not mean long term success for the artist, and 90% of the time, the boost is completely unsustainable. So for the last section of this article we are going to do a two for one and focus in on gottsy’s latest release (unless she drops between me stockpiling articles and when they come out, in which case I suddenly look like a fool).

forest fire is a far more subdued track than it’s more popular sibling, with a calm demeanour and simpler production. We’re greeted with chopped-up backing vocals and a sparse vocal ambience, before being carried into the simple chords and bass in the intro. It’s simple but fulfilling, engulfing, and when the pre-chorus hits, the vibe change and promise of some excitement is wonderful. The switch from the lush chords to the pulse of a synth bass is unexpected but welcomed, as it builds new textures and tension into what is nothing short of a beautiful drop section that carries you away. If rot is a sick as hell club montage, forest fire is more akin to falling in slow motion through a cloud or a deep dark ocean. It shows amazing duality within one artist. gottsy is not a one trick pony and I cannot wait for more of this wonderful take on experimental pop in the future. If you are too, don’t worry; I’ll be the first to bombard you about it in far too many words.