by Linley Mueller
Welcome back to the Queer Media Update! Today I will be discussing Lucy Bedroque, a 19-year-old Rap/Techno musician from California. They have been releasing music since 2020, but have been making music for almost 10 years. On May 16th of 2025, they released Unmusique, a 15-track album. Lucy worked to produce and write every song on Unmusique, demonstrating their commitment to a specific sound that develops over time without losing its special sparkle. This new album has really put Lucy on the map recently, as demonstrated through their work with other rising artists such as Jane Remover and prettifun. I want to talk about Lucy’s work in particular because they have been gaining traction in the underground music scene, and I find their music releases to be some of the most transcending and ethereal sounds out right now, combined with their impressive consistency.
I will just be talking about some of my favorite pieces from Unmusique, but I recommend listening to the album as a whole if you decide to listen to any of the ones I discuss! The first song I want to talk about from the album is track 1, “Speakers Never Learn.” This song starts the album with an electronic guitar riff followed by heavy bass, and Lucy’s voice cuts through it all. The melody is an upbeat repetition of the words, “Strike down, I’ma come back in better armor / I break the sound, speakers never learn / Baby, are you ready for the evening?” These lines stick out to me in the album especially because of their vocals in this song. Their past with music started through finding new sounds at a young age, seen through them releasing music under their alternate name “lostrushi” in the past. Their dedication to craft is shown in this song specifically through how much passion comes through in their words, “Strike down, I’ma come back in better armor.” Along with their unique voice, the sound design here feels like Lucy is crashing back into the world louder and stronger, but still carrying the energy they originally brought to the scene.
The next track I want to talk about is track 8, “Tout Natural,” which feels like a new social take on the idea of being “raw” or “authentic” in music. Lucy sings, “Oh yeah, I cannot stomach this, but it’s just how it go / Am I the chosen one? / Am I a lil’ prodigy? / Yeah.” This line sticks out to me because it shows the amount of pressure they put on themselves to come out with a consistent sound, even while their unique style shines throughout the background. The idea that authenticity is a form of power in the industry stands out throughout this album, but especially in this song. The production is super lo-fi at first, almost like a voice memo, but then it opens up into this warped, shimmering beat that sounds like it’s melting in real time. It’s one of those tracks where Lucy lets their unique sound really shine.
Next, track 11 titled, “I Am Impossible,” is definitely one of the most charged and high-pitch songs on the album. It starts really quiet, almost hesitant, and then slowly builds into something huge. Lucy says, “I could wield the sword, I got guts (Ooh) / I can really stop the storm, hit my line, huh,” displaying their strength over the track and domination over the genre. This song brings in heavy synths, layered harmonies, and this intense, almost operatic ending. It feels like Lucy is breaking out of themselves by the end of it. I think this one shows how good they are at turning their music into a sort of story, painting a picture of how they see themselves. They also say, “I could make your favorite rapper kick the cup, ooh / I could beat Michael Jackson in a dance-off,” which feels witty and humorous to me, as they put themselves in the position of what is “Impossible.” They speak of their originality in this track in a transcendent light, making it divine.
Next, I want to discuss track 14, “One Of Us Is Lying,” one of the most emotionally charged and sonically tense songs on Unmusique. Built around a looping, uneasy synth line and fragmented vocals, the track feels like Lucy is teetering on the edge of collapse, mirroring the lyrical themes of blurred reality. Lucy sings, “Don’t talk to me, no, ship sailed long ago / Can’t go nowhere with arrogance, no / You wouldn’t talk to me anyway,” a line that captures the heart of the song’s tension: a relationship where truth is subjective and communication feels impractical. The production shifts between tight verses and explosive, cinematic choruses, making the track feel like it’s unraveling. This song shows how Lucy consistently goes in a bold direction that embraces chaos, contradiction, and emotional vulnerability over beautiful soundtracks.
Finally, I want to talk about the closing track, “Yes, You May” (track 17). It’s a really soft, simple song that acts as the perfect end to Unmusique. There’s something so quiet and beautiful about it—the soft bass notes, Lucy’s voice, and a kind of ambient echo in the background. They include the repetition of “Yes, You May,” which feels like they’re giving the listener permission to listen and embrace the sound. But, Lucy speaks to a “you” throughout the song, making the lyrics seem like conversation.. Under the name they used before Lucy, they released this song in the past under the name “lostrushi,” in January of 2024. But it still managed to feel new when I heard it on this album; it was satisfying. It ends the album with a sort of sparkle, which I think makes it even more enduring. Also, I was very intrigued by this song because it reminds me of Mario Kart theme songs. It drew me into something so new and familiar.
Overall, this album has made a major impact on the industry as a whole, revealing a new sound that only Lucy has shown. Their originality is what drew me in especially, combining beautiful rhythms with personalized lyrics. So, if you are looking for a new artist that brings so much uniqueness to the underground and digicore scene, I strongly recommend Lucy Bedroque’s music!