When two of my roommates spontaneously broke into the chorus of Djo’s “End of Beginning” while rummaging around the kitchen, I jumped up in triumph.
“See? You like Djo!” I declared.
The stubborn roommate rolled her eyes. “Djo has one song!”
While she was once again teasing me for having his music on perpetual repeat, her words reflect what many people seem to believe: Djo is a one-hit wonder. Even then, calling “End of Beginning” a ‘hit’ is a spectacular understatement. After first going viral in 2024, two years after its debut, the song is topping the charts again, boosted by the release of the final season of Stranger Things, in which Joe Keery (aka Djo, surprise!) plays the beloved Steve Harrington. This time around, the journey to number one included beating out Taylor Swift’s “Fate of Ophelia” and Harry Styles’s “Aperture” (after allowing it one day of glory), which is no measly feat, especially for an independent artist. With over two billion streams on Spotify, his ode to the good old times is an absolute phenomenon. But you’ve heard the song plenty, and you’ve also heard about it enough.
I’m here to tell you about the rest of Djo’s music, because it deserves the same treatment.
In one word, Djo’s discography is defined by range. From psychedelic influences reminiscent of Tame Impala to synth to Beatles-esque pop rock (yes, really), his lyricism always shines. Djo has delivered three sonically and thematically distinct albums that refuse to do the same thing twice. Each project is a self-contained journey with a unique message and sound that makes a singularity out of every song. Not only is that an admirable show of talent and skill, but for us listeners, it means we have options.
Pro tip: Listen on headphones to appreciate the stellar production.
Twenty Twenty (2019)
Djo hits the ground running with his debut album, one chock-full of kooky psychedelic effects and funky bass that make you want to slide on some sunglasses and lie back with a drink. From struggling with newfound fame to reminiscing on the floating feeling of falling in love, it’s weird, it’s refreshing and it’s just plain cool.
The eighth track on the album, “BNBG,” starts with a faint beat that quickly builds to a kaleidoscopic explosion of pure euphoria. That’s the best way I can describe the hazy vocals and groove. “Mortal Projections” is a trip to heartbreak hotel set to a fight song of an opening that turns into a vibey call and response and sends you off with lyrics that should only be sung with a flashlight wedged beneath your chin. A recently dumped Count Dracula, if you will. Twenty Twenty also provides for your dance break needs, or really, your jump, stomp and head bang needs. “Flash Mountain” has you covered with a punchy bass and powerful guitar. It’s a standout that’ll make you stand up.
Decide (2022)
Home of “End of Beginning,” Decide is a synth-pop haven for heady drums that takes you to electronic worlds like that of The Matrix … and the occasional grown-up version of Geometry Dash with tracks like “Runner.” Themes of identity and sharp commentary on an increasingly desensitized society work with the synthy texture of each song to produce a sonically and lyrically interesting album. If you’re a sucker for smooth transitions, be sure to listen in order.
“Change” feels like the poster-child for Decide, perfectly encapsulating its synth base, moody tone and catchy melodies. A contemplation on self-improvement, it's a balanced back and forth between vocal-forward sections and heavy instrumentation that keeps you on your toes. At only two minutes, “Gloom” is all potent bass and guitar that considers the frustration of a messy friend breakup, while “On and On” and its lazy beat reflect on the doomscrolling that defines the apathy of our times: “Say a prayer, light a digital candle / And then scroll away.”
The Crux (2025)
Djo’s latest album is a sharp pivot, leaning on real instrumentation rather than digitally altered sounds to cement my point: Djo is a Many Hits Wonder. Raw, honest lyrics about figuring out your place in the world and the many loves that help you do it, whether they be familial, platonic or romantic, take center stage throughout. As with his multidimensional vocals, which serve as another instrument that perfectly adapts to each song’s needs. It’s at once his most cohesive project and his most diverse. The Crux is, quite simply, a gorgeous album. (My bias is showing, isn’t it?)
Third in line, “Link” is the ideal soundtrack to a coming-of-age movie. A good dose of post-graduation existential dread and rebellion set to good old rock you want to dance to, it speaks directly to us, second-semester seniors. “Potion” goes in a completely different direction with its perfect mix of yearning for simple, everyday acts of love and whimsical guitar tailor-made for frolicking in the meadow. It almost seems like a prelude to the fun, energetic “Gap Tooth Smile,” which Djo told Zach Sang is “from the perspective of a person looking at their partner and being like, ‘Oh my god. Wow. I am so lucky.’” Paired with a kooky bridge that proves he doesn’t take himself too seriously or is afraid to play around with music, it’s another winner. And, of course, I can’t leave out “Egg,” an exploration of fear and the vulnerable state of feeling like you’re not enough. It doesn’t follow a traditional structure; it slowly builds in intensity until the final, and oh so satisfying, crash of a wave. “Egg” is an experience.
Finally (because I have no self-control), here’s some deluxe tracks that deserve some love too: “Try Me,” “Purgatory Silverstar,” “It’s Over” and “Mr. Mounteback.”
Now go find some headphones and press play. I won’t even blame you for returning to
“End of Beginning,” (it’s that good), but remember: It’s just the tip of the iceberg.
Rafaella Gonzalez is a senior in the College of Arts and Sciences. She can be reached at rgonzalez@cornellsun.com.
