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Swedish hyperpop artist Namasenda wants you to know that she’s here to stay. Or at least that seems to be the message she is trying to send with the release of “Unlimited Ammo: Infinity”, a project composed of remixes of songs from her debut album, “Unlimited Ammo.”

Though she’s been sharing music since her first official single “Here” in 2016, “Infinity” is her most fleshed out body of work to date, showcasing her sonic potential and pairing her with a number of other members of the hyperpop scene. 

You may be asking, what is hyperpop? The answer you get depends on who you’re talking to. The genre is fairly new, with the term only arising around 2014. A concise description would be a heavily produced, occasionally overwhelming take on pop music that incorporates elements from electronic and hip hop.

Hyperpop can be a mix of Soundcloud rap, dance music, metal and the bubbliest bubblegum pop, or it can be something else entirely. Frankly, the genre is so new and fluid that it is hard to pin down exactly what it is or what it will become. It might be a phase brought on by a generation reaching adulthood, or it could be the beginning of a more permanent development in music.

One important thing to note about the burgeoning genre has to be the connection it has with the LGBTQ+ community. Many artists who create hyperpop identify as queer, which lends to a unique atmosphere of inclusivity. Pitching vocals up or down, a technique that has become common in hyperpop, also allows transgender artists to express themselves in ways they might not be able to otherwise. Avant Garde visuals and personalities abound in the scene, complementing the over-the-top music and acting as an outlet for queer expression.

Well-known artists who fall under the hyperpop umbrella include GFOTY, Hannah Diamond, and perhaps one of the founders of the genre, the late Sophie. 

Something many of these names have in common, along with their blistering beats and computerized vocals, is their association with the PC Music label. Founded in 2013 by acclaimed producer A.G. Cook, the label has been influential in defining hyperpop. 

Namasenda also works with PC Music, and now she’s taking her own strides to make her mark on the genre. While some of her earlier work, including the songs from her EP “hot_babe_93”evoke the energetic, upbeat nature of an older Charli XCX track, in “Infinity”she becomes somewhat darker and more introspective. 

The cover art is a good example of this. While the “hot_babe_93” cover depicts Namasenda laid up on a bed with a light pink background, “Unlimited Ammo: Infinity” gives the unforgettable image of the singer in an outfit made of black leather, pointing a smoking gun at the camera. ‘Try me and you’ll regret it’, she seems to be saying. 

This theme is a prevalent one throughout the album. ‘Never ever call again, if you want to keep your head,’ she sings on the appropriately titled, “No Regrets.” Multiple songs follow this narrative of the woman behind the gun, including “Black Ops 2”, “Shots Fired”, and “Finish Him”. In each one, she dismantles whoever stands in her path with ease. From a cheating boyfriend to enemies doubting her career, no one is safe. 

While these tracks are on the attack, they are interspersed with slower, more thoughtful outings where Namasenda recedes into her mind and expresses more emotion. On “☆”, she teams up with Oklou to create a cerebral sound reminiscent of the painful cycle of self-doubt that many people deal with internally. 

In some songs, the gap she presents between herself as a coldhearted assassin and as someone struggling with pain from her life and relationships seems too great to bridge. It’s a testament to her that she does manage it, though. “Unlimited Ammo”, the title track, sees her use images of futuristic weaponry and at first comes off as another attempt to be the assassin. A closer listen reveals the emotion present behind her detached vocals, as she sings ‘I could never run out of you, I could never reload all my feelings for you’.

But what about the remixes? This is a remix album, after all. Though remix albums aren’t necessarily new, they seem to mesh especially well with hyperpop considering their potential for collaboration and reworked sounds. Recent notable examples include “1000 Gecs and the Tree of Clues” by 100 Gecs and the more mainstream “Dawn of Chromatica” by Lady Gaga. 

Certain remixes manage to leave an impression almost as strong as the original song, such as the “Steel – caro ♡Remix”. The original song, an undercover bop about having a heart of steel, becomes something transcendent. Vocals are looped, giving it a dreamy effect, and the length is nearly doubled, but it doesn’t feel like too much. Rather, it gives a listener an excuse to stay a little longer with what was already an earworm. 

Each remix definitely succeeds in bringing something new to the table, although it’s sometimes debatable as to whether it was altogether needed. The “Demonic – felicita + Tohji Remix” renders the song almost unrecognizable to the point where the aggressive charm of the original is lost. Some of the best moments, like the four powerful kicks near the beginning of La Zowi’s verse, are also not present.

The choice to give some songs multiple remixes while giving others none is also puzzling, given how much potential all of them have for re-interpolation. 

If the album does have a real stumbling point, it’s where it slows down. Amidst the adrenaline rush of the rest of the track list, songs like “☆” and “On My Mind” don’t seem as shockingly exciting as everything around them. Especially mixed in with the chaos of some of the new remixes, they feel out of place. A loss of cohesiveness is a common issue with remix albums, given how focused they are on exploring songs in new ways. Sometimes the original magic of an album can be lost in the fray of featured artists and updated production. 

Still, it’s hard to let that tonal difference be too much of a downside. The enhanced energy and new sonic routes that the remixes bring make up for any feelings of songs not matching. “Unlimited Ammo”was already a well thought out, unified project, so “Infinity” can afford to be its older, slightly more bloated cousin. 

Namasenda’s clear development from her earlier work leads one to wonder where she might be headed next. With how quickly the hyperpop scene is growing and changing, it’s anyone’s guess. No matter where that turns out to be, it seems that she’ll have an audience, as she’s amassed a loyal following online. Currently, she sits at nearly 117,000 monthly Spotify listeners, which is nothing to scoff at. 

She definitely seems confident in her own trajectory, with the opening line of the whole project being, ‘Look at me winning now’. Namasenda is winning, and if “Infinity”is any indication, she’s going to keep doing it. 

“Unlimited Ammo: Infinity”is out now on Apple Music, Spotify and Soundcloud.