Babebee, pronounced “baby,” the musical moniker of the elusive, Korean American artist (they/them pronouns), is an idiosyncratic soloist who could only exist now, in the modern era: prolific, collaborative, convention-breaking, endlessly ambitious, and impossible to define. Call them hyperpop, and you’d miss out on their experimental dance signatures, their penchant for bedroom pop melodicism. Call them a singer and you miss out on their expert production work. Call them unconventional, and you’re closer to the truth: it’s the reason you might’ve caught them on Twitch, or on their Discord community, The Honeypot, or featured on a series of all-star Spotify playlists, including New Music Friday, the official hyperpop playlist, and Lorem, with its nearly one million likes. It’s also the reason Pigeons and Planes/Complex was quick to name them a best new artist.
If credibility were currency, Fake Names’ wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The [International] Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that’s slightly unexpected and wholly satisfying. “On our last record [2019’s Fake Names] the general influences were 70’s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!” Baker explains. “The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent.”