QRTR - ONDAS
I'm hesitant to say it's a fantastic time for female expression in pop music, because freedom of expression doesn't hit quite the same when we still have massive disparities in female-owned and operated companies within the music industry. Still, I cautiously say it's not all doom and gloom. Pop stars now dress with purpose and power, much like the newly tailored professional businesswoman of the 1980s would. The sheen of the 90s and Y2K era seems to have taken a step back in favour of a much more raw-and-down-to-earth "**** you, I won't do what you tell me" attitude. Now, this energy really started underground, with experimental hyperpop artists such as Charlie XCX, Sophie, and a whole heap of other talents whose efforts and persistence wouldn't go unnoticed by the mainstream. Now more than ever, it feels like a tangible female empowerment movement has materialised, at least aesthetically. Enter Meagan Rodriguez, an artist from Philadelphia who steps straight into this newly formed power electronic pop under the alias QRTR. Her influences seem vast, yet her ability to distil them into a whole on her new album ONDAS (2025) should not be understated.
The first thing I notice when dissecting her latest studio album is that there feels like a clear 2010s revival sort of thing going on. It screams to me Daniel Avery's 2013 Phantasy Records release, Drone Logic, with its minimalist beat-making, electronic basslines, and more floaty keys over the top, all given momentum by the repeating vocal motif. The track 'I Guess I Don't' really capture that spooky, minimalist drone logic feel, echoing tracks like 'All I Need'. With a lot of these modern electronic albums, it can be difficult to discern one track from the other just by the nature of Kickdrums by sound like Kickdrums. QRTR circumnavigates this within an electric use of vocals. The Electro grooves of 'Brusie' meld perfectly with the subdued vocal style, the accessible rhythms, and the icy energy that gives the tonal sense of confidence. It's quality commonly seen in female electronic-adjacent artists since the PC music Revolution, thanks to artists like Charli XCX and FKA Twigs.
QRTR also pushes some of that post-PC aesthetic with sublime carelessness expressed through the vocalisation. It's not exactly whimsical, but it's got a bad bitch energy that is more empowered by the way in which they wear their influence on their sleeve. Take 'Não Fala' that uses its influence to draw more cultural capital and authenticity, rather than using little nods to signal to the insiders that you're in a special sort of group. There's a rambunctiousness to this style of song making, which I feel perfectly encapsulates the modern socialite woman who knows their value and refuses things like the boys club.
'Self-sabotage' is the standout on the album for me, with its angelic vocal chops complemented by soft, glassy bells and delicate chords. It locks into the retro breakcore aesthetic, with supple, silky melodies crafted over a bed of energetic breakbeats. Still, luckily, that's where the similarities end, as QRTR avoids getting too caught up in the sounds of others, instead letting her voice be the guiding force of the track.
One of the underrated qualities of QRTR's production is the chilling musical interludes, which have some of the best atmosphere on the whole record. It's such a crying shame that they are not expanded further, especially as bells and piano on 'Shell Call' is an excellent example of youthful innocence. There's a vulnerability to this track, as the titular bells resonate with a hollow tone, over which breathy vocals shimmer. That totally contrasts with the opening track, 'Put a Show On', which isn't an adrenaline builder that gives an insight into what it's like to perform live, but also has the dual ability to create a palpable sense of anticipation for the record to come. 'No Land for Miles' is a much more cerebral, for lack of a better term, deep dive into sound design and ambience. As it's the last track on the record, you might assume it's more of a public cleanser, but QRTR stays well clear of that ridiculous notion. If anything, it feels almost intentionally nauseating and unsettling, most likely to echo the uncertainty of finishing a project or performance and not knowing how it will be received.
ONDAS is another excellent outing for QRTR, and while it's not exactly breaking new ground in songwriting, it's a fabulous distillation of the conventions. Tough Electro grooves and surrealist vertical performances cement this as an album with great club tracks. Although with the catchy hooks and memorable melodies, it would be much more suited to flying down the motorway on your way somewhere new. There's a real curious energy to the album, which evokes the feeling of pulling into a big city and wondering whether it will take you in.
.WAVCAVE Records (2025)
QRTR - ONDAS
