Words by Paige Daniel
Fauxlennium is a collaborative effort from indie-pop storytellers TV Girl and vaporwave producer George Clanton. Self-described by TV Girl as “hedonistic,” the album dives into themes of fleeting highs, generational disillusionment, and an artificial intimacy that defines modern life. Its danceable, mellow atmosphere is undeniable through a mix of electro-pop beats and surreal lyrics, but Fauxlennium takes us one step deeper, shaping itself into both a celebration and critique of a generation that’s constantly indulging itself.
Escapism through drug-use is central to the album. Whether it’s the upbeat vibe of the opening track, “Summer 2000 Baby,” or the more overtly psychedelic “Take a Trip,” the music reflects a longing for a particular feeling—and the often fruitless attempts to achieve it through a hit.
The album’s lead track, “Summer 2000 Baby,” captures the initial satisfaction that accompanies this chase perfectly. Picture yourself lounging in an inflatable pool float, hanging out with a high school acquaintance you don’t know all that well. Their older brother hands you a pill— and suddenly the party takes on a new energy. The track is an upbeat, welcoming invitation to a hollow world you can fall into unconcerned.
But Fauxlennium doesn’t shy away from the inevitable crash that follows such highs. In the album’s third and titular track,”Fauxlennium,” Clanton and TV Girl deliver some of their most poignant lines:
“I watched a revolution
From a pool house with a view
I’ll slit my generation
And now we got nothing to do.”
These lyrics perfectly encapsulate the tension between the upbeat, sample-filled dance tracks TV Girl and Clanton are known for and the album’s deeper message.
The turn of this past millennium was marked by a sense of cultural uncertainty—a feeling that nothing really mattered, yet anything was possible. Is “Fauxlennium” an expression of Clanton and TV Girl’s nostalgia for an era they already view as lost? A time when things felt simpler, even if they were never truly meaningful? Or does the album reflect the disillusionment of the present moment, the millennium we find ourselves in today?
Either way, the album offers a fresh experience for the artists’ respective audiences. With its strong summer ambience (which feels a bit out of place for its December release), I predict that this album, having flown somewhat under the radar of mass audiences thus far, will see a resurgence come June.
Loudspeaker Collective 