Thoom Drops Chaotic Hyperpop Album 'Everyday, Everything Is At Stake’

Beirut-born, Los Angeles-based producer and artist Thoom occupies a distinct space at the chaotic intersection of deconstructed pop and experimental electronica, framed through a Middle Eastern lens. Her latest nine-track album, Everyday, Everything is at Stake, executive produced alongside 100 Gecs’ Dylan Brady, feels like the fullest, most uncompromising realization of that ethos yet: a record that leans deliberately into tension, balancing the amplified catharsis of hyperpop with glitchy production, fragmented sonics, and impressionistic Arabic songwriting.

Crafted between Lebanon and LA, the album moves fluidly between razor-sharp electronic design and a raw, at times guttural, vocal delivery.

The opener, ‘Janani’, sets a high-octane precedent. Merging Levantine synth arpeggios and microtonal maqam melodies with a heavy boom-bap rhythm and hyperpop sheen, the track channels pure attitude. Between pitch-shifted vocal hooks, whimsical sound effects, and gunshot crashes, it captures a futuristic, hybrid soundscape. ‘Towards the Sky’ immediately pivots toward infectious pop clarity, relying on a pitch-shifted plucked string sample, lush synth layering, and a soaring chorus that highlights her melodic intuition.

As the record progresses, the sound design sharpens its thematic weight. ‘December Forever’ grounds its evolving vocal lines over a reverb-drenched synth motif, anchored by a spacious drum arrangement where sparse kicks and snares leave ample room for the atmosphere to expand. ‘Bulldozer’ takes a more aggressive turn; a gliding lead synth cuts through explosive percussion while Thoom sings of riding through the city in heavy machinery, matching the track’s sheer destructive force.

The middle movement of the album turns inward, exploring geographical and personal friction. ‘Morocco’ pairs nostalgic, early-2000s drum selections with quiet, breathy vocals as she addresses distance and unreciprocated priority in a long-distance relationship. Regional instrumental textures weave through the chorus before shifting into a distorted, vocal-heavy Arabic passage. That intensity carries directly into ‘On The Floor’, which opens with distorted Arabic vocals over claps and percussion. The track drifts between spacey pop verses about searching for love in vain and a frantic, deconstructed jungle break during the hook.

The album’s final stretch embraces total sonic unpredictability. ‘All My Friends Are Complete Stranger’ strips the instrumentation down to a minimalist drum beat and an eerie underlying synth, allowing a choppy, glitch-processed Arabic vocal sample to dictate the pacing while a childlike chant loops overhead. ‘Adfil’ builds from half-time festival synths into full-autotune Arabic vocals, briefly quietening before detonating into full-volume screams over an orchestrated cacophony. The project closes with ‘I’m Going Back to Lebanon’, launching off gunshot effects into a bed of ripping basslines and irresistible hyperpop hooks.

'Everyday, Everything Is At Stake' showcases an artist tapping into cultural displacement and emotional friction to form a kinetic, forward-thinking musical language. It stands as a daring crossover electronic record that earns its depth by refusing to smooth out its sharpest edges.