2hollis Cements Himself as a Pop 'star' For a New Generation
Photo: Tom Funk
Pop stardom, a paradox that tempts and traps, is the central theme of 2hollis's fourth studio album, star. In his latest genre-defying feat, the Los Angeles artist delves into the disorienting spectacle of fame, including the subtle flexes that double as desperate pleas for privacy. With star, 2hollis not only refines his sound but also showcases a significant evolution in his musical style, introducing new elements and experimenting with varied, unpredictable soundscapes.
After the glitchy "beginning" intro track, the self-produced "flash" knocks the door down with its chunky bassline and drums, emphasizing 2hollis' vocals and strapping listeners in for the rest of the album. Without the armor of witch house distortion or future bass opulence, 2hollis sounds beautifully vulnerable, as his light echoing vocals offer perspective from the version of himself he can be when the cameras aren't in his face all the damn time. As the track progresses, a simple chiptune arpeggio injects a splash of self-assuredness and, for the remaining runtime, he takes cues from classic PC Music tropes by subjecting a single synth arp to a series to see how its aura and color changes. The looped bleeps and bloops drag the track into new keys, ramp up the tempo, and eventually spin out of control as they're crushed beneath a barrage of hardstyle kicks.
2hollis' darker side makes an appearance in "ego," whispering over a foreboding synth, "In that very moment/ I would feel noble / No pity or remorse / I would feel no sadness," which transitions seamlessly into the hard-hitting, crunchy bass screamo track "sidekick." It's the grittiest track, serving as an example of one of the more extreme examples of the 2hollis musical spectrum on the record, with the artist whisper-singing in a forced, strained voice, "Camera lights flash on me, can't see, can't breathe, I'm nauseous."
The penultimate track, "eldest child," takes a surprising turn with its acoustic lead instrumentation. 2hollis, in a display of raw honesty, sings over somber guitar strums, sharing that he's not afraid to be truthful and vulnerable about his experience being the oldest of two children. He tries to sort through his jumbled emotions, including the isolation of fame, the expectations of being the firstborn, and the joy of making your parents proud, crooning over the melancholic production, "Pretty girls and cars, God, I'm sucking my cheeks in / Shimmering mirage, I can see what I wanna be / Pretty girls, no hearts, we can't be what we wanna be / Many dreams, many stars, many broken promises not to keep." before ending the album with the simple yet moving "safe."
In the album's closing track, the minimal and moving "safe," 2hollis pleads for his lover to ensure his heart is safe, asking for authentic love and companionship. The track feels like a spiritual return to his previous album, boy, with heavenly synths filling the air as he sings lines like, "Kissing all your makeup off… Come and take your mask off me."
For a major label debut, star boldly arrives as a collection of feelings and memories of someone chasing stardom in a beautiful blaze of glory. 2hollis's production here takes cues from electropop, electroclash, hyperpop, electronic dance music, digicore, and more. It takes us on a hero's journey, facing enemies and trials head-on, making this album a testament to the artist's resilience, vision, and bold determination to paint his name in the stars.
Listen to star below:
