Style: Hyperpop, VGM, progressive rock (clean vocals)
Recommended for fans of: Knower, Danny Baranowsky, Death’s Dynamic Shroud
Country: United States
Release date: 20 February 2026

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A few months ago, I was encouraged by my boyfriend (read: challenged) as a less-than-adventurous eater to try a “grilled apple pie sandwich with chicken” from a local eatery. Reading the ingredients, the combination seemed utterly untenable—one would think the mushy texture of roasted apples and notes of cinnamon are diametrically opposed to the savoriness of bacon, chicken, and cheddar cheese. Uneasily, I tried it, and by some miracle, it absolutely worked: the savory bits played magnificently with the subtle fruitiness and tawny cinnamon, imparting a strange sense of nostalgia in a totally foreign context. In fact, it worked so much that I asked him to take me back there later that weekend to have it again.

Trust Fund Ozu’s ARTiCHOKE is in no uncertain terms an “apple pie chicken sandwich” record, replete with flavors that, on paper, would seem to mix like oil and water. Centering the compositions are ultra-sweet overtones of hyperpop as multi-instrumentalist Faye Fadem (ex-Thank You Scientist) vocodes and autotunes across glitched-out, heavily-textured soundscapes. Japanese musical influences are peppered throughout the meal, particularly in the VGM-esque timbral language and epic, adventurous melodies. Garnishing ARTiCHOKE’s dishes are fusion-heavy progressive rock passages and anxious dream-logic lyricism.

While one may balk at ARTiCHOKE’s mix of musical flavors, the record is a culinary delight from the first bite. Opening track “Die Hard” cleverly introduces the record’s central ideas through a balanced compositional approach, opening to twisty prog guitar work and a larger-than-life chorus. The verses indulge more readily in hyperpop sensibilities with Fadem’s ultra-autotuned vocals taking focus; meanwhile, the bridge’s synthwork indulges in the quirky, whimsical tones of the Super Mario 64 soundfont. Neatly tying the track together is the intermittent glitching that adds a meta-narrative to lyrics about a dysfunctional sentient arcade cabinet. Each of these elements comes together in differing amounts across ARTiCHOKE in a way that is compositionally immaculate—Fadem understands how to combine these ingredients in ways that are not only compatible but also deeply complementary.

Playful metric trickery both electronic and live permeates throughout ARTiCHOKE. “Shop-Rite Sinner” vacillates between dazzling fusion chords and panicked, skittering percussion while “ARTiCHOKE” maintains a calm, dreamy affect among its swirling, jittery beats and fantastical Crypt of the Necrodancer-esque melodics. “Al Dente” smoothly transitions between electronic beats and melting fusion drums before rapidly shifting to the funky dance beat of “Ass + Smile”. “I Shake My Pumpernickel for Anime Shrek” is somehow both sedate and manic, lazily grooving along at a slow clip for the majority of the track before exploding into frantic double-time in its closing moments. “Just Because a Trans Woman Made It (Doesn’t Mean It’s Hyperpop)” follows suit, sliding into an exciting accelerando at the end with blasting synth stabs reminiscent of a “MAX 300” remix from Dance Dance Revolution.

Highlighting the frenetic and head-spinning percussion is the dream-like nature of the lyricism. Note, however, that ARTiCHOKE is less of a “relaxing, ethereal waves of warmth” dream experience and more of an “I’m fighting off my mom’s makeup collection on my way to the bank where I’ll meet my frog family for the first time” dream experience. “Al Dente” goes off on a tangent about Fadem needing to refill Piglet’s IBS pills (yes, that Piglet), but she ends up taking them instead and Piglet tells all of her friends, even though the situation was out of her control. The scene is hilariously depicted in the music video, and the story beat of accidentally embarrassing yourself in front of your friends is totally relatable. “Grey Poupon” describes the frustration of unrequited love when Fadem seeks out a ten-foot-tall colossus dressed like a samurai, trying to figure out why they ignored her the whole night.

Before the Great Piglet IBS Pill Debacle of 2026, however, Fadem makes a bit out of incorrectly using turns of phrase like “counting sheep” and “calling shots” and getting tongue-tied in the process. While these verses are in line with the hypnagogic setting of the track, they toe the line of engaging dadaesque shitposting and stream-of-consciousness musings that just don’t quite resonate. Eyebrow-raising lines like these appear every once in a while across ARTiCHOKE, but overall, the record’s subject matter shows a vulnerability under its surreal, ironic veneer.

Nonetheless, these tiny bits of gristle can’t shake what is an otherwise unforgettable and vivid sandwich experience. Fadem has a clear acumen over all of ARTiCHOKE’s musical domains, masterfully blending together ingredients with sharp precision. Its earwormy VGM melodies consistently draw the listener in and its rhythmic pyrotechnics add further texture and dimension, making for an undeniably powerful listening experience. Sure, one would be hard-pressed to call the end result “gourmet”, but who needs auteur culinary status when I can enjoy something that’s this delicious, nourishing, and insanely fun? Between the choice of an ultra-refined candlelit dinner and the creative, zany meal of ARTiCHOKE, I’m dining on ARTiCHOKE every day of the week.

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Recommended tracks: Die Hard, I Shake My Pumpernickel for Anime Shrek, Catch Crumbs, Just Because a Trans Woman Made It (Doesn’t Mean It’s Hyperpop)
You may also like: Cocojoey, Fire-Toolz, Double Mute, Diana Starshine
Final verdict: 8/10

Related links: Facebook | Instagram

Label: Independent

Trust Fund Ozu is:
– Faye Fadem: everything
With guests:
– Cody McCorry: bass
– Angel Marcloid: guitars (tracks 2, 3, 7, 11)
– Joey Meland: keyboards (track 11)