Welcome to “Underrated Artists,” an entertainment column from the St. Louis Park Echo covering unpopular and unknown artists. Every week, a different Echo staffer takes on the role of writer, reviewing single releases and albums from four underrated artists.
An artist whom I feel extremely excited for is indie songwriter Mk.gee. Originally from New Jersey, Mk.gee (pronounced McGee) has one of the most unique sounds in music today. He gained sizable acclaim for his late-2024 single, “ROCKMAN” but his 2024 debut album, “Two Star & the Dream Police,” had a quiet release but favorable reception. He mixes warped guitars, blown-out bass and odd synths that come naturally to the song. “I Want” has such a chilling effect on me during every listen, making it a clear stand-out favorite. He’s just beginning and his sound is already so unique — which I think is because he writes, produces and performs all of it in the comfort of his own home, making his work deeply personal to him. Despite Mk.gee’s praise from guitar maestros such as Eric Clapton, his music remains relatively untouched by the mainstream — something I hope changes in the near future.
Fontaines D.C., composed of five members hailing from Ireland, have yet to reach the U.S. charts. Although they’ve released music since 2019, they didn’t receive moderate praise until their 2022 album, “Skinta Fia.” Singles like “I Love You” and “Roman Holiday” showcase their jagged and poetic lyricism. Sometimes punk and other times pop-indie, Fontaines D.C. has matured beautifully across albums, but never sacrificing their raw lyricism for experimental instrumentals. Their most successful album to date came last year with “Romance.” Despite their streaming numbers going up with songs like “Starburster,” “Favourite” and “Bug”, they remain relatively unknown by the common listener. I like them because of their unapologetic sound — usually anchored by main lyricist Grian Chatten’s deep, almost spoken word delivery. If you’re a fan of Sam Fender or Inhaler, I’d recommend this band for you. Their music, fiercely political and poetic, becomes increasingly more relevant with every listen.
The Sundays’ time in the music scene was powerful but short-lived, making them feel like a hidden gem buried in someone’s old record collection. Backed by main vocalist Harriett Wheeler, their songs stand out to me because of her dreamy, whimsical voice. They rose to brief prominence in the ‘90s U.K. alternative scene with their debut “Reading, Writing and Arithmetic” — a blend of jangly guitars and angelic vocals. Songs like “You’re Not the Only One I Know” and “Here’s Where the Story Ends” have actually recently been revived by none other than TikTok. Much of the younger audience, like myself, has felt captivated by the carefully crafted and airy music. The Sundays only released three albums before splitting in 1997, so their music almost feels like something to be cherished for future generations. Despite influencing artists such as Beabadoobee, Alvvays and Beach House, The Sundays are rarely acknowledged for their impact on the indie scene and dream-pop genre.
Upon immediate listening, you’ll be captivated by Caroline Polachek’s voice. She almost sounds otherworldly, like a human who’s received vocal cord enhancements. This effect she has is probably due to her impressive vocal flipping, rapidly changing between her head register and chest register to create a ‘flipping’ sound. Along with these vocals, she creates lush, cinematic pop/alternative music that experiments with electronic and hyper-pop sounds. Tracks like “So Hot You’re Hurting My Feelings,” “Welcome to My Island” and “Bunny Is a Rider” give her pop sound an edge, with their sharp synths and unique melodies. Although the New Yorker has been releasing music for 20 years, collaborating with Charli XCX and Beyoncé, and opening for massive tours like Dua Lipa’s 2022 “Future Nostalgia” tour, Polachek has still managed to fly under the radar of the mainstream. If you’re looking for new and unique music to diversify your playlist, Caroline Polachek’s discography will surely provide you with that — her music is proof that pop music can be fun and experimental without sacrificing a catchy melody.
