L33CH – [8485] x [Johnnascus]

There are practically no barriers in sight when it comes to how far pop music can stray into the realms of other genres, and how far it would like to do so in the process. To be considered “pop” today is something of a limitless spectrum of places and influence — no more are cemented definitions the norm at any single level.

This notion is prevalent in quite a large number of different areas within the genre as it stands at this very moment, but perhaps it is most vividly displayed when pop acts work to slightly incorporate or even fully integrate genres that, at one point in time, would have been considered nothing less than taboo in the realms of pop as it once stood.

But that is where a dynamic, divergent, and simply deviated at like 8485 comes into play; as her trek towards her inevitable pop superstardom is being largely supplemented by her willingness to dive into any and all genres that once had the least bit of things in common with pop while keeping those signature sensibilities alive all the same. From the states of trance to metal alike, Eighty has essentially placed herself in a lane of her own as far as how she can seamlessly bridge together the once acres-long gap that separated these genres and their respective styles all the same.

The latter of those two styles is the centerpiece of her latest single with Johnnascus entitled “L33CH.” This track takes influence from a wide variety of sources, but they all revolve around how its abrasive and heavy aspects work in perfect tandem with its blissfully bright pop ones all the same.

The two were given the absolute perfect instrumental to showcase this fact in full, as Wubz crafted together what can only be described as an intense yet utterly polished-to-the-core beat that sees their signature distorted and soaring bass work as the underlying factor behind a number of moving synth passages that bring together the song’s pop tones in their own right.

8485 and Johnnascus absolutely blow the roof off with their own respective performances on the track, with Eighty’s high-pitched and appealing vocals fittingly setting up the adverse and simply stunning entrance from Johnnascus, what with their shrieking and guttural screams surrounding a perfectly-delivered verse of their own. Eighty herself even adds her own abrasive yells at the end of the track too, bringing together that cycle of influence from start to finish in the most seamless fashion imaginable.