LOS ANGELES (AP) — Fame is a double-edge sword. Though it comes with obvious perks — money, opportunity, praise — it can also prompt a kind of existential reckoning. Now what? Is this all there is? Am I changed because of it and, if so, for better or for worse?
This is the kind of wrestling Alex Giannascoli, better known as the influential indie rocker Alex G, performs on “Headlights,” his 10th album and first on a major label. “Has your wish come true?” he asks, perhaps of himself, on the aptly titled “Is It Still You In There?”
Although Giannascoli achieved quiet success early in his career — collaborating with Frank Ocean on his critically acclaimed 2016 album “Blonde ” and joining the R&B superstar on tour — Giannascoli has, until recently, been more frequently labeled a cult indie figure than a household name.
But the 32-year-old has risen to prominence in recent years, particularly after his 2022 album, “God Save the Animals,” which marked a distinct shift from his austere, lo-fi sound to more robust production and instrumentation. He has since collaborated with the pop star Halsey on her latest record and scored filmmaker Jane Schoenbrun’s A24 horror hit, “I Saw the TV Glow.”
That trajectory informs Giannascoli’s contemplative poignancy on “Headlights,” releasing Friday. “Some things I do for love / Some things I do for money / It ain’t like I don’t want it / It ain’t like I’m above it,” he admits on the “Beam Me Up,” his whirring guitars strumming mesmerizingly against airy background vocals.
Many of his lyrics here, like in the past, are poetically inscrutable. But there are also moments of explicit frankness about ambition, self-doubt, transition and success. “Hoping I can make it through to April / On whatever’s left of all this label cash / No I never thought I was the real thing,” he croons on “Real Thing,” as a pan flute synthesizer whistles underneath him.
With “Headlights,” Giannascoli continues further down his “God Save the Animals” sonic pivot to higher fidelity — perhaps to be expected on an album coming from a major label like RCA Records — recording in studios in lieu of his home for a more ornate sound.
Think dreamy synths and reverb-soaked riffs. Subdued lyrics and a distorted guitar solo almost turn “Louisiana” into a shoegaze track. “Louisiana / Wild and Free / The only one who wanted me,” he repeats with distorted vocals.
If there is a central message to “Headlights,” it appears on the song “Bounce Boy.” “I’m up in the clouds and I pray,” he sings with pitched-up vocals, one of his signature effects. “Say goodbye / To the life / That you knew for so long.”
For better or for worse, there is no turning back.
