Addison Rae’s Left-Field Debut
by Daniel Finn
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Addison Rae’s debut album, Addison. I wanted to hate this. It’s not my usual lane, and definitely not what I gravitate toward, but Addison is a refreshing take on pop and a surprisingly thoughtful indicator of where things are trending in the highly manufactured, hyper-produced world of modern Western pop music.
And given the other directions she could’ve taken, it’s genuinely interesting to me that she chose this one.
While Rae is best known for her viral TikTok fame, this project steps away from mainstream formulas and draws clear inspiration from underground electronic music.
The sound sits between lo-fi pop and club-rooted genres. Think Charli XCX’s more experimental side or PinkPantheress’ stripped-down, garage-influenced style.
It’s minimal, moody, and intentionally restrained. The vocals are processed and detached, not reaching for those big emotional climaxes but building atmosphere instead.
Lyrically, it orbits themes of fame, identity, and emotional distance, delivered with a kind of quiet control.
I give Addison credit. I don’t know much about her musical background or how much creative influence she had, but I’m sure she had agency in shaping this. That said, finger-in-the-air sort of stuff, the production that comes from Elvira Anderfjärd and Luka Kloser, both part of Max Martin’s MXM camp, is where the magic comes from.
Their work merges Rae’s pop persona with textures pulled from deep house, downtempo, and UK garage. It’s subtle but sharply executed.
Addison doesn’t feel like a play for hits. It feels like a calculated entry into the internet-pop underground, less about the charts, more about aesthetic and mood.
Whether or not it’s your thing, I think the creative choice is worth some respect.
For those carrying a few assumptions (I did too), this might feel more familiar than expected. It is not far from the downtempo, lo-fi, or underground sounds you might already listen to. Let it sit with you.