The art of blending past influences with future possibilities is a tightrope walk few musicians manage to pull off. Dash Hammerstein, a Brooklyn-based artist, is one of the rare talents who not only traverses this delicate balance but does so with a distinct, innovative voice. His upcoming album, Franklin, released on April 4, 2025, is a captivating reflection of this evolution, blending vintage pop craftsmanship with futuristic production techniques. Whether you’re a fan of the Beatles’ timeless hooks or the modern punch of Charli XCX’s bold synth-pop, Franklin offers a soundscape that feels like it’s both from yesterday and tomorrow at once.
The album, which is entirely written, arranged, recorded, and produced by Dash himself, showcases a singular vision. A brief cameo by Christian Li of Unknown Mortal Orchestra on synths and Grace Hammerstein’s ethereal vocals add some color to the project, but it’s Dash’s creative touch that serves as the spine of Franklin. Through this album, Hammerstein channels influences as diverse as The Kinks’ witty songwriting, The Beatles’ melodic craftsmanship, and Charli XCX’s boundary-pushing pop to create a genre he calls “White Album Brat.” This label captures the essence of Franklin: a record that both pays homage to classic pop and boldly twists it for today’s ear.
Opening with the aptly titled “Sick,” Dash wastes no time in setting the tone for the album. Here, a rumbling synth hook intertwines with edgy, distorted vocals, and a relentless drum machine rhythm cuts through the haze. It’s a confident, dynamic start to the record, steeped in modern sounds but undeniably rooted in the melody-driven pop tradition. “Sick” draws comparisons to the likes of Charli XCX and Billie Eilish, its combination of experimental production with catchy hooks making for a striking introduction to Dash’s world.
Then there’s “Undertaker,” a track that perfectly exemplifies Dash’s ability to merge quirky, Kinksy storytelling with gritty, futuristic instrumentation. The song ebbs and flows between punchy, staccato verses and soaring, atmospheric choruses, where synths create a wide, spacious sound that contrasts with the heavy beats and minimalist drum patterns. There’s something haunting yet exhilarating about “Undertaker,” a track that balances eccentricity and accessibility with ease.
The album’s standout moment might be “Growing Nowhere,” a track that fuses melancholic lyrics with a driving, almost robotic rhythm section. The stripped-back arrangement places emphasis on the vocals, which carry a raw emotional weight. In a world where personal growth is often framed as an upward trajectory, “Growing Nowhere” serves as an anthem for those moments when it feels like progress is nowhere to be found. The song’s vulnerability resonates deeply, but it’s Dash’s production that adds a unique flavor—its analog warmth giving the track a timeless feel.
Franklin continues to evolve as the album shifts into “A Clean House,” where Dash introduces a more experimental, almost minimalist feel. Here, the song builds around a pulsating bassline and hypnotic synth arpeggios, a nod to the experimental pop of artists like Tame Impala and Aphex Twin. “A Clean House” provides a contrast to some of the more upbeat tracks on the album, and yet it fits seamlessly into the flow of the record, showcasing Dash’s versatility as both a songwriter and producer.
The poignant “1987” transports listeners to a more nostalgic place, with its soft melodies and lush arrangements evoking memories of the late ‘80s’ pop scene. In contrast, “My Old Life” pulls the listener into the present, with its modern electronic elements blending into a sound that’s both familiar and new.
Tracks like “Overcorrection” and “Flying Over Cow Palace” continue the journey through Franklin, with Dash weaving intricate layers of sound and lyrical depth. These tracks carry the same sense of sonic exploration that has defined the album so far, but they also feel like a continuation of the story that Franklin is telling: one of personal reflection, musical innovation, and artistic freedom.
Finally, the album closes with “This Trai,” a track that encapsulates the entire vibe of Franklin: unpredictable, enigmatic, and utterly captivating. With its layered production, intriguing melodies, and complex emotions, it’s a fitting ending to an album that feels like a complete artistic statement.
In Franklin, Dash Hammerstein delivers a masterpiece that bridges the gap between past and present, tradition and innovation. By combining elements of classic pop with cutting-edge production, the album feels fresh yet nostalgic, experimental yet accessible. It’s a work that speaks to both the head and the heart, making it clear that Dash Hammerstein is not just an artist to watch, but one who is shaping the future of pop music.
