You know that moment when you’ve scrolled so far into your feed you forget what day it is? Longboat does—and he wrote an album about it.
Word Gets Around, the newest sledgehammer from the Seattle-based anti-pop provocateur, is basically a sonic “unfollow” to everything predictable in modern music. There are no love songs. No glossy choruses about healing. Just a collection of sharp, unsettling, oddly funky tracks that turn cultural collapse into an art form.
From “The Doomscroll Waltz” to “Bare Minimum Society,” Longboat holds a mirror up to the chaos and invites you to laugh at the reflection—until the laughter sticks in your throat. “Citizen Sweatpants” could be the national anthem of a population permanently working from bed. “Euro vs. Disco” grooves like a lost dance track until the sinister undertones start to crawl out from underneath.
Longboat doesn’t just break the rules—he ignores the whole rulebook. His songs are more like short films than singles, and Word Gets Around plays like a dystopian novella for the chronically online. The lyrics are unflinching, the production lean but deliberate. Every beat feels like it’s watching you.
This isn’t an isolated experiment either. Word Gets Around is just one of eleven albums Longboat plans to release in 2025. It’s not just output—it’s an onslaught. But none of it feels phoned in. There’s something deeply intentional in the way this music hits—weird, jagged, occasionally hilarious, but always alive.
In a time when pop has been sanded down to playlist-friendly mush, Longboat dares to be abrasive. And that’s exactly why it works. Word Gets Around isn’t here to soothe you. It’s here to shake your screen-addled brain awake and maybe get you dancing while it does it—awkwardly, in your sweatpants.
Longboat isn’t writing hits. He’s writing dispatches from the future. You’d be smart to listen.