"April Harper Grey's work as underscores places her firmly in this camp, blending genres into exhilarating studies in nuanced, unpredictable songwriting. She melded pop-punk and brostep on " Loansharks," ornamenting it with a flurry of Midwest emo guitars. She constructed a multi-suite epic with " Geez louise," maneuvering between turn-of-the-millennium sass punk, saloon-ready country, and bracing post-rock catharsis. For her latest trick, "Do It" takes late-2000s Britney, fuses it with 2nd-generation K-pop's electro-pop maximalism, and throws in the industrial verve of Jam City's Classical Curves."
"Much like her previous single, " Music," the self-produced "Do It" spends its runtime magnifying texture and rhythm. She throws down a four-on-the-floor beat and lets percussive guitars and crunchy synths zip across the soundstage, swaggering like FutureSex / LoveSounds but with f(x)'s chromatic sheen. At the turn of the recent decade, hyperpop artists blew open the doors for genre agnosticism in the Western underground, eschewing snobbery to embrace a love for music in all its forms."
April Harper Grey blends genres—pop-punk, brostep, Midwest emo, sass punk, country, post-rock, electro-pop, industrial—into nuanced, unpredictable songwriting. 'Loansharks' combines pop-punk and brostep with Midwest emo guitars. 'Geez louise' functions as a multi-suite epic spanning sass punk, saloon-ready country, and post-rock catharsis. 'Do It' fuses late-2000s Britney pop, second-generation K-pop maximalism, and Jam City's industrial verve. The self-produced 'Do It' magnifies texture and rhythm with a four-on-the-floor beat, percussive guitars, and crunchy synths, shifting into dreamy R&B while lyrics declare commitment to music over sexual or material enticements. Genre agnosticism and theatrical pop sensibility drive the work's emotional impact.
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