Artist Profile: Oddie Strangeluv
Oddie Strangeluv, born-and-raised in the Crenshaw neighborhood of Los Angeles, lays down rhymes that capture the duality of the revelry and struggle of a rising artist; while the grind and hustle shapes his mentality, it is his idiosyncrasies that convey his true adeptness as a rapper.
Growing up with dreams of playing professional football, Oddie was sidelined in his senior year of high school with a gruesome knee injury, effectively forcing him to reconfigure his life entirely. He faced a genuine reckoning; what was next for him?
He took a leap of faith, harnessing his upbringing around his musically inclined family to begin creating his own artistic output. Yet, his journey was formed by a pilgrimage of self-acceptance; he had to transition, physically and mentally, to be in touch with his genuine personhood in order to overcome the doubt that surrounded him.
He marks Tyler, the Creator, the infamously self-attuned rapper from nearby Hawthorne, California, as his model for this journey; the way Tyler carries himself artistically aided Oddie in shaping his own mindset and style.
“At first, in the hood, at least around that time, they wasn't playing no damn Tyler Creator… Listening to Tyler, it made me feel okay with being who I am for real. Listening to his music, it was just so different, and he was okay with being that way…But then it connected with me in a different way.. Igor is the reason why I wanted to start rapping.”
As he pushed himself to be different, and decided to take the route of an artist, his immediate family struggled to support his path, a disappointing development that he cites as the biggest obstacle he’s had to overcome in his journey.
“[It was a struggle] just being constantly misunderstood… I have a lineage of family that is into music, singers and people that play instruments, but life got to them… I feel lacking that support early on was very hard for me, but it did still make the drive even harder. I would say [that was my biggest challenge] because it's like you live a different life than everybody around you.”
The three projects he released on streaming in 2024, SAMSARA, THE MAGICIAN, 2 Tided Luver, and South Central Isolation Tape, represent, largely, this journey of self-discovery. Throughout the process of this output, Oddie was learning to produce his own instrumentals, becoming more and more comfortable with the sound that he intended to create.
His style of production leans heavily on vocal samples and loops, contributing to the alternative motifs that permeate his work.
Yet, with his newest project, FLA$H, is his strongest yet, synthesizing all of the work and development that Oddie has put into his artistry.
From the funky flips of “FIRE FI DAT” to the mellow bars of “FIND A WAY”, FLA$H puts the entirety of Oddie’s arsenal on display, marking his brilliant first steps into true artistic cohesion.
While Oddie is still heavily influenced by the internet rap scene of his adolescence, he aims to continue to push his sound and his pen beyond their current bounds, pursuing his art as he does now: with no arbitrary limits.
“I like the sound that I have [now], and I feel like I have no bounds when it comes to where my sound is going to go. I’ve got so many genres that I want to try; due to my influences, I want to try so much. So much different sh*t.”
Although youbet began as the bedroom-pop project of singer-songwriter Nick Llobet, the project was never simply just a creative outlet. As Llobet transitioned from his early days of obsession with technical guitar mastery and turned his attention towards building a fuller sonic world, he had a hazy vision of a layered, otherworldly songwriting approach— one that ultimately manifested in the experimentally-inclined indie folk of youbet and, with the addition of bassist Micah Prussack to the project, reached its culmination.
When Hillsboro’s frontman, Vancouver native Nima Walker, first began making electronic instrumentals in his bedroom as a teenager, he never imagined he would have the inclination to lead a rock band, let alone find the confidence and community that the activity required. But over a decade later, Hillsboro has found its fullest expression under the winsome eye of Walker’s earnest songwriting, and with the release of their new album A Party in Your Name, this artistic impulse has worked its way to the forefront of a distortion-heavy, garage-rock-oriented backdrop.
When guitarist and songwriter Jack Shields got the call that he was being invited to join Richy Mitch & The Coal Miners, he knew that his life, in many ways, had changed forever. In a sense, he had accomplished the goal he had first set out to achieve as a teenager— to live and work full-time as a musician. But beyond the tours and the recording, Jack’s new gig has yielded one central benefit. He’s gotten to devote his attention to his solo venture, Jack Shields & The Mojave Rush, and with the release of his newest album Avalanche Hour, he’s continued to carve out the distinct, ragged sound that has become all his own over the past few years.
For Ellen Froese, the Saskatchewan-born singer-songwriter, the release of her 2026 project Solitary Songs, a collection of 11 tracks recorded in an open studio setting with a group of friends in 2024, represents more than a return from the four-year break she took from the music industry. The project is a testament not only to the new artistic balance she’s found, but to a mode of living and a freedom of expression she’s carved out as she’s slowly come into her own as a songwriter.
Jason Balla, currently of indie-rock outfit Dehd and formerly of NE-HI and Earring, has been a fixture of the Chicago rock scene for almost as long as he can trace back his musical consciousness. But with the release of his second solo record as Accessory, entitled Dust, he’s at his most intrepid, carving out spaces informed, but not wholly defined by, his roots in noise rock and his long-held passion for “weirdo” music.
Valentin Prince’s winding musical journey, which began as a child listening to his father sing Bob Dylan songs as he walked through the halls of their house outside of Boston and came to fruition in the small, passionate scene of Harrisonburg, Virginia, has left him with an endless array of imprints and fascinations— one that has been expressed in various forms in each of his unique solo releases.
When Violet Beller and Anakeesta Ironwood first met at the University of Miami, they knew immediately that they would click as friends. Their similar musical and creative affinities ensured it. But what they didn’t know was the coiling twists and turns that their original sapling of an idea would take on, incorporating member after member from their scene until rug, as a sprawling, seven-piece indie band, came to find its complete form.
When Northampton-based composer and producer Dan Langa set out to create a live version of his COVID-era concert After Nothing Comes, enlisting a number of collaborators to re-interpret and re-record the work in a live setting, he had very little idea what would ultimately come of it. Fugue State and its first full release— a collage-oriented, experimental version of the original chamber composition— came about unintentionally, as a gradual crystallization of Langa’s artistic intentions as he worked on the project.
NYC-based guitarist and singer-songwriter Eli Frank has found creative release through Bummer Camp, his solo endeavour turned full-band project, in the years since the dissolution of his DIY punk venture Top Nachos. But now, as the release of the newest Bummer Camp record Fake My Death indicates a turn in a more pop-leaning direction, it’s become evident that Frank is operating at a level of artistic freedom that has, at times throughout his career, been difficult to keep near the forefront of his creative atmosphere.
For founder and frontman Ed Moreno, SoCal-based indie and garage-rock band The High Curbs has served as a sort of journal for his musical inspirations and creative leanings since its formation in 2013. At the time, Moreno was in high school, but over the decade-plus The High Curbs have been in action, he has watched himself grow from an energetic, rock-loving teenager to a more mature artist, coming to love the artistic process itself to the same extent he’s always been impassioned by the actual act of performing his music.
she’s green has come a long way from their roots scrapping together demos in their shared house in Minneapolis, but their unique brand of “moss rock”, a folk and indie-inspired, dreamy shoegaze blend, has managed to maintain its centrality to their image and their artistic output in the meantime. With the upcoming release of their third project swallowtail, however, they have reached a new level of creative polish and cohesion— one that is imminently recognizable in the nooks and crannies, the infinite and collapsing spaces, they fill with their withering sonic atmosphere.
Although Dirt Buyer originated as simply another foray in the playful experimentations of founders Joe Sutkowski and Ruben Radlauer, it quickly took on a life of its own, serving as an outlet for the constant musical energy and slowcore-tinged riffs the pair exuded. But for Sutkowski particularly, the band (and the release of Dirt Buyer III) have become a sort of baseline— one that, as he exits a long-standing battle with addiction, represents a goal of a comfortable and intimate creative space to return to.
From the time he was first immersed in his brother’s rotation of southern hip-hop, NY-born producer and rapper Radicule. knew that, in some shape or form, he wanted to be involved in the direct thematic delivery and pure artistry those rappers exhibited. In the years since, his style has taken massive leaps and turns, but he and his central creative intention have remained intact.
Iguana Death Cult came to life as the garage-punk passion project of four teenage friends, and it has seen its fair share of transformations over the roughly 12 years since its inception. But their newest record, Guns Out, represents more than just a sonic evolution for the Rotterdam-based band. After two of the band’s original members made the difficult decision to move on from the project, Guns Out is a triumphant and searing continuation of the psychedelic and funk-rooted influences that defined their earliest efforts.
best dressed ghost, the garage and surf-inspired punk band from New Jersey, has taken a leap of artistic confidence in the release of its second record, Let’s Go Home, in March. When tracing the creative threads through the trails of their first record, however, a singular characteristic of the band’s work becomes clear— all four members possess a special sort of creative unison, elevated by the sheer charisma and energy that percolates not only through frontwoman Stef Leo’s personality-laden vocals but also through the band’s relentless willingness to adapt to the diverse vibrancies that each track demands.
Ovven, the solo project of Dallas Ugly guitarist and touring virtuoso Owen Burton, came to life in February with the release of Gnawing At The Cord, Burton’s debut solo album. But the foundations of Ovven’s sound, which differ starkly from the softer Americana that composes much of his body of work, trace back to his childhood in Chicago— they are, in a word, utterly natural to Burton’s sonic vocabulary.
Sunsick Daisy, the Adelaide-based, shoegaze and dream-pop influenced rock band, was originally formed from the teenage creative yearnings of its founding members, Kane Gabell and Sarah Grainger. But it has since blossomed into an energetic and surprisingly free affair– one that is capable of achieving the rare balancing act between a continuously evolving sound and a central sonic imprint and identity.
Every time ladybug, the Massachusetts-based dream-pop and shoegaze-tinged indie artist takes up her improvisational songwriting process, it is the years of musical intrigue and the yearning for creative expression that truly flows forth through her words— a flood of suppressed emotions and untapped creative maturation that is abundantly evident not only in each of her hypnotic and varied singles but also across her collaborations, including the 2025 EP “live from the smoke room”.