There’s a different kind of pulse running through the underground right now. And a lot of that shift is being carried by a group of women who aren’t positioning themselves as “new voices,” but as architects of their own micro-scenes.
Onoola-sama stands out because of how she’s been playing with bouyon. “Fete-rock ” is probably the clearest example. It’s fast, percussive, made for movement, and doesn’t try to clean itself up for anyone. Even the way the track is built, it leans fully into that high-energy, dance-heavy feel bouyon is known for, but still keeps her loose, almost chaotic delivery on top.
Then you’ve got something like “storyman” from the same run, which shows the other side of it. It’s still rooted in that same world, but a bit more narrative, a bit more grounded.
Indi’s been having her own kind of run with “D.T.M.M.B” and “Over.” Those songs didn’t need a big push. They spread because people actually liked them. They’re simple in a good way. The emotion is right there, the hooks stick, and nothing feels overworked. It’s the kind of music you don’t have to think too hard about to connect with.
VVSMYGWEN’s “Hannah Montana” with Luwa feels very online. It’s playful, a little chaotic, and doesn’t really follow a strict structure. It sounds like something that just came together naturally instead of being over-planned, which fits how she moves overall.
Deena’s “PRESS AM” with Zino Milly carries a different kind of energy. It’s more direct and assertive. It doesn’t ease into anything, it just starts where it needs to and holds that tone the whole way through.
None of them sound the same, but they all share that same approach, nothing feels overthought. The songs aren’t trying to be perfect, and they’re not trying to explain themselves either.
That’s really what’s changing. It’s less about building a “scene” and more about people just making what feels right, putting it out, and letting it travel.
